"Drawing is very central to the way that I work because it can be blown up, taken apart.... You can just keep on pushing it, like this infinite machine...."
"I was looking at racist paraphernalia, iconography, and then at these accurate versions of middle-class Americans. I began to associate the silhouette itself, the cutting, with a form of blackface minstrelsy. Here we have these mainly white sitters or a few slaves who were documented in silhouette- but for the most part white sitters whom I identify as middle class because upper class would require a full-fledged oil portrait and that’s what I had already ruled out for myself...’No oil painting here, not going to ape the master that way.’"
- Kara Walker