The State of Hope

Kara Walker on Hope

Vogue asked a group of leaders, innovators, and creative talents to tell us what hope means to them now—and why it’s more essential than ever before.

IT’S taken me weeks to sit down and try to explain these watercolors. But weeks I have, time aplenty. These are selected from a group of modest-size drawings, each one containing a kernel of my emotional state at the time of their making. I am always reflecting on the state of current events and the overlap of the historical and the mythic—but I realize today that explaining is not needed, as we live in a world of 24/7 explanations, of everyone talking at once.

Sitting down to make an intimate drawing is a conversation, a way of listening to what’s grumbling inside my body, and an attempt to transmit, nonverbally, an experience of being. It’s a hopeful act: an attentive and often surprising exercise I forget to do for long stretches. But when the world concentrates so much violence, ignorance, and mind games into little digital devices we are compelled to carry, I am grateful to have this simple analog practice at my fingertips.

Photo: Kara Walker, The Last Limb, 2020. Walnut ink and sumi-e ink on paper, 16 x 12 inches; courtesy of Sikkema Jenkins & Co., New York.
Photo: Kara Walker, Shroud, 2020. Walnut ink and watercolor on paper, 16 x 12 inches; courtesy Sikkema Jenkins & Co., New York.
Photo: Kara Walker, Prophet and Puppeteer, 2020. Walnut ink, sumi-e ink, and gofun on paper, 12 x 16 inches; courtesy of Sikkema Jenkins & Co., New York.
Photo: Kara Walker, Mother and Daughter, 2020. Walnut ink, gofun, and watercolor on paper, 10 x 7 inches; courtesy of Sikkema Jenkins & Co., New York.
Photo: Kara Walker, Lot’s Second Wife, 2020. Watercolor on paper, 12 x 16 inches; courtesy of Sikkema Jenkins & Co., New York.
Photo: Kara Walker, Peaceable Kingdom?, 2020. Watercolor and sumi-e ink on paper., 12 x 16 inches; courtesy of Sikkema Jenkins & Co., New York.