February 2020 Featured Artist
Fine Artist & Mixed Media Designer
Zsudayka Nzinga Terrell
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Photo Credit: Satra N. Smith
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Zsudayka Nzinga Terrell is a Washington, D.C.-based fine artist and mixed media designer, originally from Denver, CO. Initially, Zsudayka pursued a career in journalism before focusing on a career in the arts.
She started out as an oil portrait painter doing photo realism and expressionist portraits before moving into abstract portraits in acrylic and collage work with paper and fabric. Her work is largely composed of messages regarding the experience of the Black woman in America with themes of motherhood and culture. Her pieces contain patterns, textures and textiles definitive of the new tribe of Black and American. Her aim is to create pieces that are definitive around the culture of Black America as a tribe of new American African people whose existence began during the transatlantic slave trade. Zsudayka’s work has been included in exhibitions and gallery spaces throughout the U.S, and she is the recipient of several grants. She and her husband, James Terrell, who is also an artist, own Terrell Arts DC and work closely with nonprofits to develop youth art programming in their community. |
Hope and Grace
Acrylic on Canvas © Zsudayka Nzinga Terrell |
Mom and Daughter
Paper on Canvas © Zsudayka Nzinga Terrell |
Peace of Mind
Ankara Fabric Weave on Canvas © Zsudayka Nzinga Terrell |
The Ferris Wheel
Paper on Canvas © Zsudayka Nzinga Terrell |
How would you describe your style?
I use stitch patterns from traditional Black American quilt work and stained-glass cubism to create the angles for my abstract portraits. Each line and texture is a part of the story being told in the paintings. They are a blueprint for culture speaking to how enslaved Blacks would use designs on quilts or in their hair to pass messages. My work further explores ideals of dandyism and how Black Americans use fashion to signal their freedom and success. Motherhood and sisterhood in the Black community are central themes.
I’m very interested in creating specialized skin tones and hair textures for each of my subjects. I enjoy putting Black women of varying shades and tones beside each other, overlapping and demonstrating the multitude of black skin, styles, hair textures, and types of women in the community.
My work contains a lot of patterns and symbolism. The patterns are inspired by textile fabrics, Ankara and other cultural fabric patterns. There are often reoccurring images, such as piano keys and butterflies. I copy collage styles – with angles and overlapping figures, sharply shaped. Each piece mimics a textile creation as an ode to the fabric of the Black American African. They are meant to be representative cultural images exclusive to the experience of those who are descendants of enslaved people. I consider my pieces afrofuturist, demonstrating the progression and complication of the Black identity as it evolves.
I use stitch patterns from traditional Black American quilt work and stained-glass cubism to create the angles for my abstract portraits. Each line and texture is a part of the story being told in the paintings. They are a blueprint for culture speaking to how enslaved Blacks would use designs on quilts or in their hair to pass messages. My work further explores ideals of dandyism and how Black Americans use fashion to signal their freedom and success. Motherhood and sisterhood in the Black community are central themes.
I’m very interested in creating specialized skin tones and hair textures for each of my subjects. I enjoy putting Black women of varying shades and tones beside each other, overlapping and demonstrating the multitude of black skin, styles, hair textures, and types of women in the community.
My work contains a lot of patterns and symbolism. The patterns are inspired by textile fabrics, Ankara and other cultural fabric patterns. There are often reoccurring images, such as piano keys and butterflies. I copy collage styles – with angles and overlapping figures, sharply shaped. Each piece mimics a textile creation as an ode to the fabric of the Black American African. They are meant to be representative cultural images exclusive to the experience of those who are descendants of enslaved people. I consider my pieces afrofuturist, demonstrating the progression and complication of the Black identity as it evolves.
Billie Holiday #3
Acrylic on Wood © Zsudayka Nzinga Terrell |
Carmen 2018
Acrylic on Canvas © Zsudayka Nzinga Terrell |
What do you hope to inspire in others through your art?
One of my greatest hopes is to be a leader for including Black stories as American stories. I consider my work cultural anthropology. I am working to capture moments and experiences and to communicate them as an American narrative. I want kids to go to museums and see pieces by Matisse about life next to the sea…and Picasso and his friends as masks…and then see a Black woman hot combing her hair…and then a person from another culture - side by side, without anyone feeling like what they experience keeps them from connecting. We all have our rituals in our cultures, but exploring the special part alongside the intersectionality of America is interesting to me.
Are there any artists who have inspired you?
I am extremely inspired by Frida Kahlo. I love her pieces when she was in America featuring her traditional wear hanging on the NY clothesline. I also love the fabric work of Bisa Butler. The way she layers the fabric and patterns is incredible. I am greatly inspired by Romare Bearden and Faith Ringgold when I consider the composition of fabric and paper to tell a story. I enjoy the print work of Delita Martin and the way she creates textiles. I like the textures and layers of Patrick Quarm. His daring use of layers inspires me.
I was recently compared to Robert Gwathmey, which led me to ponder my artist identity. I was offended at first, but then I really sat with his work and saw the ways in which he observed Black life, and this made me realize how important it was to tell my own story.
One of my greatest hopes is to be a leader for including Black stories as American stories. I consider my work cultural anthropology. I am working to capture moments and experiences and to communicate them as an American narrative. I want kids to go to museums and see pieces by Matisse about life next to the sea…and Picasso and his friends as masks…and then see a Black woman hot combing her hair…and then a person from another culture - side by side, without anyone feeling like what they experience keeps them from connecting. We all have our rituals in our cultures, but exploring the special part alongside the intersectionality of America is interesting to me.
Are there any artists who have inspired you?
I am extremely inspired by Frida Kahlo. I love her pieces when she was in America featuring her traditional wear hanging on the NY clothesline. I also love the fabric work of Bisa Butler. The way she layers the fabric and patterns is incredible. I am greatly inspired by Romare Bearden and Faith Ringgold when I consider the composition of fabric and paper to tell a story. I enjoy the print work of Delita Martin and the way she creates textiles. I like the textures and layers of Patrick Quarm. His daring use of layers inspires me.
I was recently compared to Robert Gwathmey, which led me to ponder my artist identity. I was offended at first, but then I really sat with his work and saw the ways in which he observed Black life, and this made me realize how important it was to tell my own story.
Smoke
Acrylic on Canvas © Zsudayka Nzinga Terrell |
Breastfeeding
Paper, Acrylic, & Fabric on Canvas © Zsudayka Nzinga Terrell |
In what ways do you think women artists can encourage more exposure for their own work and the work of other female peers in their field?
It’s important that we use social media. Something as simple as reposting fellow women artists can go a long way in the name of exposure. I also think we need to step into curating spaces and start creating shows that feature the work of our peers. I can’t emphasize enough the power of women collectors as well. When women are in those auction houses and galleries, purchasing and selling pieces and making sure our stories are told, we win.
Purchasing work by women is also becoming more important to me. It gives me the chance to loan work and to help increase the value and visibility of women artists. Teaching is important too. Letting young artists know that the odds are not against them…that they can pursue their work.
It’s important that we use social media. Something as simple as reposting fellow women artists can go a long way in the name of exposure. I also think we need to step into curating spaces and start creating shows that feature the work of our peers. I can’t emphasize enough the power of women collectors as well. When women are in those auction houses and galleries, purchasing and selling pieces and making sure our stories are told, we win.
Purchasing work by women is also becoming more important to me. It gives me the chance to loan work and to help increase the value and visibility of women artists. Teaching is important too. Letting young artists know that the odds are not against them…that they can pursue their work.
