girl power
february 2025
Anna Park's dynamic charcoal drawings are a whirlwind of smiles, secrets, and unsettling truths. The New York-based artist reclaims vintage advertisements, transforming their passive female figures into powerful protagonists who challenge societal norms and talk to us with witty humour. Park reveals the inspirations behind her provocative art and the personal journey that has shaped her unique vision.
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Anna Park photographed by Devin Blaskovich.
So, Anna, were you always this fearless?On the contrary, I was such a timid kid, my mom would say "You need to speak up!". It took some time but when I turned 18 I just went for it – got tattoos, shaved a side of my head… did all the rebellious "teen stuff". It gave me control over something in my life, when everything else felt out of my hands.
What felt most out of your control back then?A combination of things, I was born in South Korea, where there's an intense focus on academic achievement. Then I spent my early teenage years in Utah, which is very conservative. Most of my friends were destined for the 'graduate, marry, have kids' track. I grew up seeing a very traditional household model, but my own family was different.
In which way were things different for you at home? In Utah, my mom worked while my dad took care of us, which was pretty unusual. Seeing her find freedom and fulfillment in her career definitely left a mark on me. It challenged those traditional gender roles and showed me that femininity can coexist with ambition and unconventional choices.
'Good Girl', 2024, courtesy of the artist.
Was leaving Utah a pivotal moment?
Definitely! When I moved to New York City I stopped trying to fit in, this is where the real transformation began. Looking back, I’m still grateful for my time in Utah, it pushed me to work hard and break free.
What made you choose to move to New York City?
I went there on a family trip and knew immediately I'd found my city. I remember my mum saying ‘That's so dirty here’ and me responding ‘It's dirty, but I love it’. I knew I would end up here one day.
Did New York inspire those uninhibited early works?
Absolutely, even though it wasn’t deliberate. New York felt overwhelming yet exciting. I was drawing from party scenes and the noise around me. It was all new to me and the work was my attempt to capture this frenzy. For instance, I remember by my second month there, I was on the train at 2 a.m. where I saw a pile of vomit cascading toward me. It was so gross, but I thought, “Wow, this is New York” even at that moment, I couldn’t believe I was here!
'Thank You', 2024, courtesy of the artist.
What personal experiences have influenced the themes in your work?
I think my work is deeply influenced by my mother's own path and her stories about women in Korea who struggled for agency and autonomy. Seeing how advertising often portrays women has also fueled my desire to portray women who break free from those constraints and forge their own paths.
You said advertising is a source of inspiration, any specific ones?
It's tough to choose just one… I'm drawn to the contradictions and complexities within advertising. I find insurance ads fascinating because of how twisted they are. They're always showing a tragedy while also promising to be there for you. They’re always telling you this tragedy while reassuring you they’ll always be there for you. I'm also captivated by those old, problematic ads that used women's bodies and sex appeal to sell unrelated products. In my work, I aim to subvert that kind of objectification. I want to portray women with agency and control, as active participants in their own narratives, not just passive accessories.
There's definitely a sense of mischief in your work. You seem to enjoy playing with hidden meanings.
I love layering meanings into my work. Take the piece 'Thank You' for instance. At first glance, it's a woman celebrating with flowers, gloating as she holds a bouquet, practically drowning in them. But if you look closer they're deliberately phallic. I wanted the flowers to almost look like dicks coming toward her face. She’s both celebrated and consumed by them.
Can you tell us more about the piece named ‘Size Queen’?
Oh, the boobies’ piece!
[Laughter] Yes, that's the one...
It’s a playful twist on a vintage bust enhancement ad. I reimagined the woman holding a tiny penis with the caption 'It's all relative,' poking fun at the way women's bodies are often scrutinized and objectified. Her expression is meant to say: 'Size doesn't matter. We’ll still love you' but honestly, would that still hold true if our tits weren’t as big?
What's next for you?
I'm really excited about my upcoming exhibition in May at Leeahn Gallery. It's in Daegu, South Korea - my hometown - which makes it even more meaningful. This body of work is exploring the themes we talked about of womanhood and challenging societal norms. It will be a full-circle moment for me.
'Size Queen', 2024, courtesy of the artist.
Text by Lisa Boudet