Nanna and Me


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This was the light bulb moment for me. To many, enjoying Persian food is a first experience.

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So it is of the utmost importance that we create an exceptional first impression. With authentic family recipes, a commitment to source only the best ingredients, and a desire to teach guests how best to enjoy Persian food, our mission is simple —. Whether you are new to Persian cuisine or grew up with it, our goal at Nannaa is to accurately represent the food and hospitality that the culture is bound by.

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With authentic family recipes, a commitment to source only the best ingredients, and a desire to teach guests how best to enjoy Persian food, our mission is simple — Whether you are new to Persian cuisine or grew up with it, our goal at Nannaa is to accurately represent the food and hospitality that the culture is bound by.

Nannaa to Go! Yet, we could also interpret it as a show that works as a counterpart to the photo-based art of the Helsinki School, which is probably more well known abroad, especially after the success of Eija-Liisa Ahtila. So there is too much space around us in my opinion , and that makes us somehow feel empty and lonely. We all know what loneliness can do to a human being… And this is something that can also be spotted in our visual language, where you find images that often are quiet and empty, even in a profound philosophical manner.


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How does this affect or inform your practice as an artist? I think that it has a huge effect. In my case it made me overcome a big agony to be even able to express myself as an artist! Also as I said before about the loneliness and so on: if you look at my earlier works they were filled with white emptiness! How was this experience?

Interview with Nanna Hofman

But of course this helped me to push my own limits and have a new perspective of my work. And yes, the Finnish grant system is extraordinary.

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The group of artists included is very eclectic though. Is it more of a brand to easy categorize a series of new artists, for example like what happened in painting with the Dresden or Leipzig School? The facts are more simple: we all proceed from the same University of Art and Design in Helsinki and we studied with Professor Timothy Person.

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He did a great job and with his expertise and activities many of us somehow found our ways to the international art scene. We started to exhibit in museums abroad and many of us also started to work with foreign private galleries, like my case.


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  • I think it was more of a working tool, a very useful one, in the beginning of my career. You can say that my work changed a lot since then, and so did our lives! Finally I came to the conclusion that there was not much we could do about it, so I better relax. I was on top of the Empire State building by myself, and there I started to experiment with these kind of shootings.

    But to be honest, it took me four years before I actually decided to proceed exploring this new way, both from an experimental point of view as well as theoretically. At that time I was living in Swizerland again and went for a visit to NY. And while taking the photos, I often practiced a small performance with the large scale camera on my chest: sometimes I was walking or breathing very strongly, even laughing.


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    • Together with the landscapes portrayed, the camera captured my movements as well and they became part of the end result. In the final phase, I did some digital retouching with the computer here and there.

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