What Black woman printmaker have you gleaned inspiration and or wisdom from and how is that carried forward in your work?
tw: Elizabeth Catlett is the foremother, for me, so I have to give honor to her. She embodied making art for the people. Yet, I am particularly drawn to relationships cultivated by Black women printmakers, such as Elizabeth Catlett and Margaret Taylor Goss Burroughs. As well as the works of Afrofemcentrism, as it explored Afro-woman-centered consciousness through Black artistic cultural production. The socio-political intersections of race and womanhood are narratives that interest me in my praxis. In the words of the painter and printmaker Emma Amos, “For me, a Black woman artist, to walk into the studio, is a political act.”
As the founder of Black Women of Print, what legacy would you want the society to: expand on from the past, create in the present and leave for future generations?
tw: I want to expand on the presence of Black women entering into spaces “normatively” considered as White and/or patriarchal property—like the arts—and have our counternarratives join the stage. As for the present, I look forward to the members producing printed matter as a means of negotiating the intersectional narratives of Black identity as valid knowledge and creating a space for the exchange of Black artistic cultural production. For the future, I am excited for our re-imagining of Blackness being realized.
What does/can community look like in printmaking? What are the various ways that we, as printmakers, can collaborate?
tw: Community can look like a well-written novel: full of diverse characters who hold a wealth of personality, varied experiences and knowledge, that are connected by an intersectional storyline.
Residency retreats for societies or collectives would be amazing. It would give printmakers a chance to exchange knowledge, review work and also collaborate on projects.
+ tanekeya word is an intermediate printmaker in screenprinting, letterpress , and linocut.
Screenprint on Paper