By means of her art, Nansky commits to the tradition of the surrealism or, rather, kind of a sunny illuminated surrealism because the transition in her oeuvre from muted dim to intensive shimmering is spectacular. Yellow, orange, and hues of green alternate with shades of pink and purple. Her works are a true explosion of colors. As concerns form, the surrealistic story is also true. Her works embody pure abstaction, abstract expressionism and also action painting – art styles which are all inherent in surrealism. She applies the same formal style where she incorporates planes deliberately which results in an extra-ordinary precision. Some works are compared with topographic cards or a panel of glass. But there is more to it than that. The whole is more than the seperate components. It’s all that and a little more. The intensification succeeded due to the superior use of colors. Some works are referred to as topographic maps, the essence of modernity where scientific and technical understanding of the world meet. One could read in her approach a reference to the fictional character, Jed Martin, from the novel of Michel Houllebecq, ‘the map and the territory’. With the Paris art scene as setting, he was an instant hit with the production of photos based on topographic maps which were the kick-off for an international career. As he was capable to capture the heartbeat, the call of dozens of human beings in each of the villages and townships on those maps, so applies Nansky a sublime color palette that renders the same intensification. For that reason, Nansky could erroneously be categorized as a rooted nostalgic with a strong desire for the past. Nothing could be further from her real preoccupations. Taught by a number of modern art styles, she produces artworks which are as a whole more than their seperate modernistic components. Her art set itself the aim of pursuing the inspiration and the cheerfullness of its viewers. The colors make her works glow and crackle. Sometimes with a ‘rainbowy’ monumentality. A colorist pur sang. And there is nothing amiss in such approach. Maybe it would be pejorative if color were merely finishing off, glow, a piece of decoration seeking to raise the attractiveness. But it ain’t so. Color sets the tone. Before the viewer can deal with patterns, he is above all carried away by the colors. In the attractiveness of those expressive colors, her art seems to he touched by some something that has to do with her own activity. She takes a personal stand with her art. It might be said that it is not about the art style but rather about the personality, the view on an artistic practice and its place in today’s society: Nanky’s art is one of recognition and fun. The subject-matters of her art are legio. As with pop-art, she seems to enjoy to expand the subject-matter of her artworks. This emerges in the process of titling her works. What surprises you, as a viewer, is not so much the chosen title but rather the rendition of the entitled: reconizable but not realistic as a result of which you have the inclination to react with: Ah, this is how Mars looks like or that’s how Mars could like like’. The process of seeking titles for her works is modest and tumultuous. That’s why the viewer consents rather than objects to the titles. Moreover, it’s often the viewer who makes suggestions for the title of an artwork what makes the entire process an artistic project rather than a literary one.