Last year, Nami Oh hoped to build a bigger, more permanent home for her sign painting practice. After a 20-year-long career in the fashion industry, she embarked on the ever-present yet hidden world of sign painting, leaving traces of herself across Los Angeles. When a space opened up a block away from where she was raised, finding what would become OhNami Gallery was kismet.
Reflecting on her childhood, Hello Kitty came as a natural source of inspiration during her early sign painting days. The idea for a Sanrio fan art exhibition came to her last year. To her surprise, the show would coincide with Hello Kitty’s 50th birthday. Something about Fanrio felt right.
Incorporating tattoo, automotive painting and fan art, OhNami looks to redefine the boundaries of a traditional gallery space. On the heels of Fanrio, Oh sat down with Hypeart to discuss her latest show, her upbringing, and the transformative power of community.
Before owning a gallery, you were an artist. Can you tell me about what opened your eyes to sign painting?
I knew I was looking for something, but I didn’t know what that was. I went to Powell’s Books when I was in Portland and this sign painting book was staring at me. I bought it and recognized that the only school in the country that teaches this trade is right down the street from me. I knew exactly what I had to do.
I began the program in 2018. After we transitioned to Zoom, there was a classroom fire so we never returned back in-person. After the term was over, my teacher, Dr. Wesley, passed away. He played a huge part in sign graphics. It was impeccable timing that I came in when I did because I got to experience all of the old sign painting traditions.
LA is known for vibrant street art and sign painting, though it’s most visible in public or outdoor spaces. What was it like transitioning into owning a traditional indoor gallery space?
Totally a fluke. When I went into sign painting, my apartment got so crowded and I needed more space. I happened to be helping out the new owners that took over my grandparents’ liquor store down the block. I saw that the space became available and I bit the bullet. It was enormous so once I got it, I stayed in one area like a cat. I knew I wanted to work out of the back, but for the front I thought, ‘Let’s display artwork here.’
The artists you exhibit don’t typically present their work in gallery spaces. How would you describe your curation process?
Right when I got the gallery, I was fixing a mural that got tagged in Glendale. A sign painter walked by and asked if I was pinstriping. From that conversation, I saw a whole world of us out there, so I made the first show about sign painters, pinstripers, automotive painters, and tattoo artists. I wanted it to be about LA where every artist picked a neighborhood that they would exclusively represent. The community came together and it just took off on its own.
“Instead of what people would think or what my community thinks, I kept asking myself, ‘What’s my why?’”
Is there anything that you really discovered about yourself through this process?
There’s not a team, there’s only me. I’m trying to be professional and not take things personally, but there’s a lot that I have to overcome. You’re forced to face all your fears. Instead of what people would think or what my community thinks, I kept asking myself, ‘What’s my why?’
You said that it was important that Fanrio was for all ages. What do you imagine visitors getting from the show?
As a kid, you remember what you see forever. My grandparents used to take me to the carnival at the nearby offices. Having that fun was the biggest deal for me because I never left the block. These kids see a lot of adult stuff and it kills me when they adapt to it. I do this so kids can get inspired and remember what was here. This is for them. This is their community gallery, and everyone should be able to see art.
“I look at everything as a blessing. It’s not perfect, but through this gallery, we can all make something out of our vision.”
Do you have any fond memories with Sanrio, growing up or as an adult?
So many. I lied to friends in elementary school, telling them I had a Sanrio store. I loved Sanrio and still have things in my apartment from my childhood.
What aspects of this show surprised you the most?
I was surprised by the support from strangers. Everyone’s coming out and just having a good time with it. For me, it was really satisfying to see that others are enjoying this; this idea wasn’t just fun for me.
There are a lot of favorite parts, but when artwork sells, I am so elated. I love to tell people that their piece sold, to reaffirm that they are artists. I look at everything as a blessing. It’s not perfect, but through this gallery, we can all make something out of our vision.
When that fear matters most, that’s when you have to jump.”
Do you have any advice for the next generation of artists-turned-gallerists?
I’d say when that fear matters most, that’s when you have to jump. If you’re going to take on what I did, be prepared to live and breathe this. I’ve been having anxiety and losing sleep, but oddly, I don’t regret it.
Courtesy Of OhNami Gallery. Photography by Michaela Quan.
