"In the paintings where it's there—the tenderness—I work for it. I'm not afraid of it. If I could put my bleeding heart in there, I would."
"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