Photo by Christian de Fonte
Based in New York’s Hudson Valley, Tschabalala Self’s distinctive practice combines painting, printmaking, and sewn elements to construct textured depictions of female figures. Her work explores the complexities of identity and Black womanhood, blending traditions from both fine art and craft and using collage as a metaphor for the layered nature of selfhood.
Ahead of her presentation at Tokyo Gendai with Galerie Eva Presenhuber this September, Self discusses the evolution of her technique and the intuitive interpretations she hopes viewers will bring to her work.
“The technique I use now is meant to mirror the way a person is formed, and is closely tied to the work’s conceptual concerns around identity and selfhood.”
Have you always known you wanted to be an artist?
Yes, for as long as I can remember. I’ve been making art my whole life. Family portraits, landscapes, oil and acrylic paintings. Very self-referential work.
How would you describe your current technique?
The technique I use now, a collage-based method using various textiles, really emerged during my graduate studies at Yale. The painting substrate itself becomes part of the image. It’s meant to mirror the way a person is formed – through acquired, inherited, and attached elements. The process is closely tied to the work’s conceptual concerns, especially ideas around identity and selfhood.
Who are the figures in your work – are they reflections of yourself?
They’re composite characters. Some parts relate to me, others are inspired by people I’ve come across, fictional characters, or pop culture figures. Each figure is imagined but made up of different influences.
Where do you find inspiration for colour and pattern?
From life – day-to-day experiences. I don’t go anywhere specific for inspiration. Ideas come whether I’m at home or out shopping. It’s all very intuitive.
What does a typical day look like for you?
I have a studio in a neighbouring town. It’s important for me to have that separation. I work Monday to Friday, 10am to 6pm. I either work on pieces in progress or develop the appliqué elements – those are the figurative components that are collaged and sewn into the paintings. I stick to that schedule whether I feel inspired or not. Just being in the studio helps things move forward.
What surrounds you in your studio?
Mainly my materials, works in progress, and my art library. I keep a large collection of artist catalogues there, probably over a hundred. They’re useful when I’m trying to solve a problem or explore an idea. Reading about other artists’ lives, and how curators or historians interpret their work, helps me conceptualise my own.
“The most important thing is to approach the work with curiosity and an openness to transformation.”
Do you collect art yourself?
I collect works by friends and emerging artists, and occasionally older artists too. I keep that work in my home, but I don’t live with my own pieces – I find it too distracting. I like to keep my work in the studio.
Are you exploring anything new at the moment?
I’m revisiting some motifs I used around ten years ago – abstracted shapes that create liminal spaces behind the figures. I’ve also returned to printmaking techniques, integrating hand-cut lino stamps directly onto the canvas. These heavily patterned, maximalist backgrounds bring a print aesthetic into my painting practice. I’m also beginning to apply collage elements to the canvas itself, not just the figures.
You will be presenting your work at Tokyo Gendai this year – how would you like viewers to approach it?
I’d encourage people to trust their intuition. Their first impressions are valid. If they choose to read about my intentions or influences, I hope that information only expands their perspective. But the most important thing is to approach the work with curiosity and an openness to transformation.
<Thank you very much! We look forward to seeing your work in September.>
Visit Tschabalala Self’s website here.
Tschabalala Self
Tschabalala Self (b. 1990, Harlem) is a New York-based artist known for her dynamic depictions of women using sewn, printed, and painted materials. Blending painting, printmaking, and sculpture, her work explores identity and selfhood. Her work has been exhibited internationally and is held in major collections including the Guggenheim, LACMA, and the Whitney.
