Saya Woolfalk

Additionally, in college, Woolfalk encountered the Kaki Tree project, which involved the single persimmon tree that survived the 1945 bombing of Nagasaki.

This tree allowed intercultural exchanges to be made using its saplings, while also displaying that through pain and suffering does new, improved world emerge.

Saya Woolfalk (born 1979, Gifu City, Japan) is an American artist known for her multimedia exploration of hybridity, science, race and sex.

Woolfalk uses science fiction and fantasy to reimagine the world in multiple dimensions.

Saya Woolfalk is represented by Leslie Tonkonow Artworks + Projects, New York.

Woolfalk was educated at Brown University (B.A. Visual Art and Economics 2001) and earned her M.F.A. in Sculpture at the School of the Art Institute of Chicago in 2004.

Woolfalk moved to New York in the 2006, to participate in the Whitney Museum of American Art Independent Study Program.

Since serving as an artist-in-residence at the Studio Museum in Harlem from 2007 to 2008, Woolfalk has exhibited her work at the Museum of Contemporary Art, Chicago, Studio Museum in Harlem, Frist Center for the Visual Arts in Nashville, Weatherspoon Art Museum, Greensboro, NC and the Contemporary Arts Museum Houston.

She also participated in PERFORMA 09 and collaborated with friend Clifford Owens in his solo exhibition at PS1/MoMA in New York.

She has received awards including a Fulbright for research in Maranhão, São Paulo, and Rio de Janeiro, Brazil a Joan Mitchell Foundation MFA Grant, a New York Foundation for the Arts Fellowship, an Art Matters Grant in 2007 and has been an artist-in-residence at the Newark Museum, University at Buffalo, Yaddo, Sculpture Space and Dieu Donne Papermill.

Art critic Roberta Smith of the New York Times wrote in 2008 of Woolfalk's "Ethnography of No Place," that she developed with anthropologist and filmmaker Rachel Lears, “a little tour de force of performance, animation, born-again Pattern and Decoration, soft sculpture and anthropological satire.”

In 2008, Woolfalk and anthropologist Rachel Lears gathered friends and asked them about their ideas of what a perfect utopia would be.

They took those Ideas and intertwined them into what is now known as No Place.

With funding from the NEA, her solo exhibition, "The Institute of Empathy," ran at Real Art Ways Hartford, CT from the fall of 2010 to the spring of 2011.

She was a graduate advisor at the Art Institute of Chicago and a BFA critic at Parsons School of Design in 2012 and a visiting artist at Montclair State University in 2012 and 2013.

Her first major solo exhibition at a North American museum opened at the Montclair Art Museum in October 2012.

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 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 in Woolfalks first solo show at the Montclair Art Museum in the fall of 2012.

No Place 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 Brazil.

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 scientific processes of her husband.

Woolfalk was an adjunct professor at Parsons from 2013 to 2018.

Woolfalk was born in Gifu City, Japan, to a Japanese mother and a mixed-race African American and white father.

She grew up in Scarsdale, New York and has described that herself as "binational" as a child because of her early childhood in Japan, along with frequent visits back to the country after moving to the United States.

She has expressed that this "binational" background is very influential to her, making themes of hybridity very prominent in her work.

In the New York Times, art critic Holland Cotter 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 AMMO Magazine, 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 he project tells me what should happen next in the story."

Curator Lowery Stokes Sims wrote in a Real Art Ways catalogue in 2013 that "Woolfalk is single-handedly guiding us back to the original promise of modern art. Suprematism and Constructivism in Russia, De Stijl in the Netherlands 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 our peril, because it is conviction such as hers that can move cultures and shift the meta-narrative."

This work has been included in the shows Enter the Mandala: Cosmic Centers and Mental Maps of Himalayan Buddhism at the Asian Art Museum (San Francisco) in 2014 and Disguise: Masks & Global African Art at the Seattle Art Museum in 2015 and the Brooklyn Museum in 2016.

She has cited sowei helmet masks produced by the Sande society in Sierra Leone as inspiration for this work because of how the female-centered community used these masks in masquerades and female initiation rituals.

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.

In an interview for Huffington Post, 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 [sic] history of European colonialism, slavery, and Native American history made our culture what it is today."

Woolfalk also based the construct of cultural hybridity off of 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 ways, which later contributed to the creation of The Empathics.