Toyin Odutola Quotes

I kept wanting to push my image as validity; I wanted to see my portrait on a wall and know it was okay.

For a while, I was nervous about portraying women because of the objectification that automatically comes with it, whether the artist intends or not.

Where some may see flat, static narratives, I see a spectrum of tonal gradations and realities. What I am creating is literally black portraiture with ballpoint pen ink. I'm looking for that in-between state in an individual where the overarching definition is lost. Skin as geography is the terrain I expand by emphasizing the specificity of blackness, where an individual’s subjectivity, various realities and experiences can be drawn onto the diverse topography of the epidermis. From there, the possibilities of portraying a fully-fledged person are endless.

I needed to create something I could take with me wherever I went.

I started blogging because I didn't know if I wanted to be an artist. I wanted to talk to other people online who were doing art, so I would post work and ask for feedback. I loved that an artist like James Jean would show his process on his blog. It became this open dialogue that, unfortunately, we don't have a lot in the fine-art world. People will say, "Wow, you share a lot." I'm like, "No, I make it a point to." Instagram is a great place for people to share failure. I don't want people to think that being an artist is some glamorous life.

Being a black artist, the first thing people want to talk about is your blackness, the importance of your blackness and your black presence.

I dont think about race before I start drawing. I think about how to make that mark to fit whatever purpose I need it to fulfill.

The graphic style itself is influenced by a lot of very layered and detailed comics that I read as a kid, like Vagabond by Takehiko Inoue.

Hank Willis Thomas is great. He's the one who "discovered" my work and saw something that I didn't see. He's still constantly pushing me to try out new ideas and not be afraid of what other people will say. He truly is a mentor, and I often ask him about the art world, how to juggle it all and not lose your mind. It would be like accepting an award without thanking him because he really has been so supportive.

I moved around a lot when I was a child; two of the houses I grew up in have totally disappeared. One was burnt in a riot, and the other was pulled down.

I've always felt the portrait is an occasion for marks to happen. I've never viewed the portrait as about the sitter. Even when I go to the National Portrait Gallery, I'm not thinking about the sitter; I'm thinking about how the artist chose that color or that highlight. It becomes about the time, place, and context.

It is hard to produce work in New York. You kind of have to center yourself - do some Zen meditation exercises and just focus. It is very distracting, and money, of course, is an issue.

Kerry James Marshall especially was a huge influence on me in graduate school, as were Wangechi Mutu and Julie Mehretu. These artists are titans. My education was also very much in comic books, so I've been going to comic book events in New York and have met a few artists there.

For a while, I was nervous about portraying women because of the objectification that automatically comes with it, whether the artist intends or not. With "Of Another Kind," I've not so much drawn nudes - I hate saying "nudes" because it's not a spectacle - but portrayed people naked. I see them in a more straightforward way - exposed, but with no indication of who or what they are; they're just there.