From the Artist

I like working with arrows andthe unconsciousness. After Katrina I realized I had drawn the footprint and a storm, specifically a hurricane. I did the drawings on Mylar several months before Katrina and kept adding to it. Proceeds (part) will go to New Orleans community organizations andNew Orleans animal rescue groups.
—From Brandywine Workshop and Archives records

One of the things I like about printmaking is the serendipitous result. I like to call it a kiss of very unique impression.
_{—From Brandywine Workshop and Archives records}

Howerdena Pindell continues to create art that often expresses issues of racism, feminism, human rights, and spirituality, typically weaving personal experience with images selected from media, and always elegantly constructed and deeply affecting. The creative process itself sometimes leads her to valuable discoveries she can exploit for effect.
_{—From Brandywine Workshop and Archives records}

Pindell frequently uses long, symbolic destruction/reconstruction processes. She cuts canvases into strips and sews them back together, constructing surfaces in layers. She paints or draws on sheets of paper, then uses a paper hole punch to punch out dots from the paper, drop the dots onto the canvas, and then squeegees paint through the stencilleft in the paper from which she punched the dots. Her paintings are almost always installed unstretched, held in place only by the strength of a few finishing nails. The artist's interest in gridded, sequential imagery, as well as surface texture, is evident throughout her work. Pindell [turns to] thematic focuses in...politically charged work to confront societal issues such as homelessness, AIDS, war, genocide, misogyny, xenophobia, and apartheid.
_{—Adapted fromhttps://www.howardenapindell.org/, accessed 7-8-2021}