244:, Woolfalk said, "I create fictional worlds that are as immersive and full-scale as possible. I take elements from the real world and fold them into fantasy so that they are semi-recognizable to my viewers. My favorite part of building these places is when they start to almost make themselves. It gets really exciting when the logic of a project has become so clear that the project tells me what should happen next in the story."
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women who are able to alter their genetic make-up and fuse with plants. With each body of work, Woolfalk continues to build the narrative of these women's lives and questions the utopian possibilities of cultural hybridity. “Because I’m mixed race, I have this idea that to leave the conversation ambiguous is interesting,” she says. The
Empathics were first on view at Woolfalks first solo show at the
434:, she described her attitude towards cultural hybridity, "Although cultures do have important political utility, the idea that cultures develop in vacuums is false. Cultures really build on each other. American culture is a serious hybrid, an agglomeration of all of the different immigrant groups and nationalities. It’s [
128:, New York and has described herself as "binational". As a child, her early childhood was spent in Japan along with frequent visits back to Japan after moving to the United States. She expressed that this "binational" background is very influential to her, making themes of hybridity very prominent in her work.
448:. This tree allowed intercultural exchanges to be made using its saplings, while also displaying that through pain and suffering a new, improved world emerge. This experience affected Woolfalk so much that she stated, "The structure and drives of this project impacted how I wanted to conceive my future work".
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Woolfalk also based the construct of cultural hybridity off her experience as a "binational" person. While growing up, she attended elementary school in Japan and learned about plants and their relationships to humans. From such a young age, she was taught that plants and humans are connected in many
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Woolfalk wanted to create something that allowed people to think about cross-cultural relationships and hybridization. However, she did not want to use her personal story and background to do so. Instead, she created the world of the
Empathics within her work. The Empathics are a fictional race of
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introduced formal devices such the elimination or blunting of figural reference, the use of simple geometric shapes and primary colors in the belief that these encourage a transnational, un-xenophobic perspective that would lead us to open-minded future. Therefore we underestimate Saya
Woolfalk at
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She draws upon sources as far-ranging as
Japanese anime and African masks and textiles used in ritual ceremonies. The garments she designs to be worn in her video works filmed in her installations are often fusions of her various influences, attesting to her views of cultural hybridity.
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wrote of
Woolfalk's Empathics in her piece "Chimera", at Third Streaming Gallery in 2013, "These sculptural figures, with their blossom heads, are fantastic but, as with all fundamentally spiritual art, a complex moral thread runs through the fantasy". In an Art Talk with
369:. She was with her husband, who was conducting anthropological research on descendants of escaped enslaved people and Woolfalk describes finding herself comparing her working methods to the scientific processes of her husband. In 2008, Woolfalk and anthropologist
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is a technicolor world depicted through dance, movement, video and sculptural objects. This work was developed out of
Woolfalk's experiences studying performance and its intersection with spiritual practices in
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492:. She stayed a visiting artist at Montclair State University in 2013 and became an adjunct professor at Parsons School of Design where she held the adjunct professor position until 2018.
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ways, which later contributed to the creation of The
Empathics. In college, Woolfalk encountered the Kaki Tree project, which involved the single persimmon tree that survived the
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Woolfalk is the daughter of a
Japanese mother and a biracial African American and Caucasian father. Her upbringing puts her in a position to chart an expanded definition of
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Body, Mind, Culture: Woolfalk and Lears’s
Ethnography of No Place by Rael Jero Salley, emisferica, New York University, volume 5.2, Fall 2008
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as inspiration for this work because of how the female-centered community used these masks in masquerades and female initiation rituals.
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Woolfalk was born in Gifu City, Japan, to a
Japanese mother and a mixed-race African American and Caucasian father. She grew up in
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from the fall of 2010 to the spring of 2011. Her first major solo exhibition at a North American museum opened at the
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wrote in 2008 of Woolfalk's "Ethnography of No Place", that she developed with anthropologist and filmmaker
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our peril, because it is conviction such as hers that can move cultures and shift the meta-narrative."
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1341:"If You Loved Black Panther, You Will Love Lessons from the Institute of Empathy", Charles Mudede,
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Ambiguity, Myth, and Saya Woolfalk’s No Place by Lee Ann Norman, Chicago Art Magazine, Feb 10, 2010
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A Look into the Future with Saya Woolfalk, Interview by Nicole Caruth, Art21 Blog, August, 2009
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catalogue in 2013 that "Woolfalk is single-handedly guiding us back to the original promise of
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Fellowship, an Art Matters Grant in 2007. She has been an artist-in-residence at the
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fellowship for cross-disciplinary and performance work, the Art Matters grant, the
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1336:"Artist Saya Woolfalk: ChimaTEK: Virtual Chimeric Space" by the Seattle Art Museum
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in 2012 and 2013. Woolfalk was an adjunct professor at Parsons from 2013 to 2018.
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would be. They took those Ideas and intertwined them into what is now known as
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Empathy and Performance Art: Saya Woolfalk at the Frist, by Elizabeth Jones,
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1154:"'Disguise: Masks and Global African Art,' Where Tradition Meets Avant-Garde"
1065:"Plant Humans of the Future: An Interview with Saya Woolfalk | Bad at Sports"
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Sean T. Mitchell and their daughter Aya. Woolfalk maintains an art studio in
689:"New Intuitions: Artists in Residence 2007–08 | The Studio Museum in Harlem"
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611:"Artist Saya Woolfalk Is Challenging Ideas of Race and Cultural Boundaries"
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Artist Saya Woolfalk Is Challenging Ideas of Race and Cultural Boundaries
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Woolfalk has been the recipient of the Joan Mitchell MFA fellowship, the
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In 2002, Woolfalk began teaching as a Teaching Artist for the nonprofit
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Enter the Mandala: Cosmic Centers and Mental Maps of Himalayan Buddhism
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in 2004. Woolfalk moved to New York in the 2006, to participate in the
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in 2010, respectively. In 2012, she became a graduate advisor at the
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the following year. In 2006, Woolfalk became a thesis advisor at the
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gathered friends and asked them about their ideas of what a perfect
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1135:"What world do you want to live in? | Saya Woolfalk | TEDxKCWomen"
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Interview with Saya Woolfalk, by Lee Ann Norman, ArtSlant, 2013
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791:. Internet Archive. Archived from the original on 5 April 2010
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in New York City. Woolfalk was also a visiting artist at the
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Brown University; School of the Art Institute of Chicago, MFA
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in New York City. She then taught at Architreasures and the
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and fantasy to reimagine the world in multiple dimensions.
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in 2016. She has cited sowei helmet masks produced by the
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from 2007 to 2008, Woolfalk has exhibited her work at the
662:"Search Results - School of the Art Institute of Chicago"
1038:"Saya Woolfalk: The Empathics | Montclair Art Museum"
785:"No Place: A Ritual of the Empathic: Saya Woolfalk"
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151:Since she served as an artist-in-residence at the
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1110:"UB Art Galleries » Saya Woolfalk: No Place"
102:Leslie Tonkonow Artworks & Projects, New York
809:: CS1 maint: bot: original URL status unknown (
660:(SAIC), School of the Art Institute of Chicago.
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850:"A Hot Conceptualist Finds the Secret of Skin"
226:, soft sculpture and anthropological satire.”
1394:School of the Art Institute of Chicago alumni
869:"Museum and Gallery Listings for April 19–25"
737:"Art on Paper 2006 | Weatherspoon Art Museum"
524:, Dieu Donne Papermill in New York City, the
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512:Fellowship Award. Woolfalk has also been an
112:in 2012. She was also a visiting artist at
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917:. Hartford: Real Art Ways. Archived from
634:Weeden, Leslie (September–October 2015).
390:This work has been included in the shows
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468:. In 2007 she worked as a mentor at the
400:Disguise: Masks & Global African Art
825:"Clifford Owens: Anthology | MoMA"
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1434:21st-century African-American women
1429:21st-century American women artists
1308:Saya Woolfalk by Timothy McCahill,
1219:"Teaching and Mentoring Experience"
848:Roberta, Smith (9 September 2008).
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1414:American women conceptual artists
867:Holland, Cotter (18 April 2013).
43:No Place, The Empathics, ChimaTEK
470:New York Foundation for the Arts
385:ChimaTEK: Virtual Chimeric Space
309:New York Foundation for the Arts
169:Frist Center for the Visual Arts
100:Saya Woolfalk is represented by
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488:. She was a visiting artist at
396:Asian Art Museum, San Francisco
1254:"The Harmonics of Dislocation"
1086:"Young Artists: Saya Woolfalk"
141:Whitney Museum of American Art
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1185:"Young Artists: Saya Woolfalk
609:Joseph, Alanah (2016-06-10).
542:Headlands Center for the Arts
911:Sims, Lowery Stokes (2011).
508:for performance art and the
63:http://www.sayawoolfalk.com/
1419:American multimedia artists
1409:American conceptual artists
1152:Johnson, Ken (2016-06-23).
506:Franklin Furnace Fund Grant
143:Independent Study Program.
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887:"Art Talk: Saya Woolfalk"
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518:Studio Museum in Harlem
307:MFA Grant and from the
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165:Studio Museum in Harlem
153:Studio Museum in Harlem
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1252:Tanguy, Sarah (2010).
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224:Pattern and Decoration
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484:and a BFA critic at
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249:Lowery Stokes Sims
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