Olivia Richardson (she/her(s)) is a printmaker and interdisciplinary artist from Northern Virginia. In 2019, Richardson earned her Bachelor of Fine Arts in Studio Art with a minor in Art History from West Virginia University. In 2022, she received her Master of Fine Arts in Studio Art and a Museum Studies Certificate with an emphasis in Art and Visual Culture Education from the University of Arizona. Richardson is co-founder of the Radical Intersectional Printmakers’ Guild with fellow printmaker Becci Spruill. Her work has been published in A Love Letter to This Bridge Called My Back and the online magazine Synesthesia. She has exhibited in Arizona, Utah, Pennsylvania, Virginia, West Virginia and in the Czech Republic. Richardson sees her work as a vehicle that allows her to exploit the existing social structure that works against her voice. Her objective is to use her personal experience as a Black woman to help catalyze conversations that aid in a broader understanding of marginalized identities.

Exhibition Statement

As artists, we have the rather unique job of bearing witness. At times it can be joyous and healing work and at others, uncomfortable and sobering. While there is a great need for beauty in the world, there is an equal demand for justice. Currently, although nothing new, those in power refuse to stand against the hateful and harmful acts of oppressors while condemning the resistance of the oppressed. As a result, a rallying cry was issued from our kindred and this exhibition is our response. 

The kernel for CondemNATION was inspired in part by “Forbidden Colors”, made by Felix Gonzalez-Torres in 1988. It is composed of four panels in green, red, black, and white. The piece, and it’s profound artist statement, was a response to the suppression of pro-Palestine media in Israel, though the four colors are used throughout the Middle East and are present in the Pan-African flag and elsewhere. It therefore opens a conversation about global justice and solidarity.

Artists featured reflect on ideas of displacement, disconnection, the complexity of identity, anti-imperialism, resilience, and, most importantly, solidarity. Solidarity with those of the global majority; from Turtle Island to Palestine, and beyond. Our fights for liberation are intrinsically connected; their struggle is our struggle. Printmaking is rooted in community and revolution. From Martin Luther’s ninety-five theses printed on a Gutenberg printing press to AfriCOBRA and Just Seeds, print media has played an important role in disseminating information and amplifying suppressed voices. While the selected artists use multiple media, print is an important aspect of their studio practice. 

Art has the ability to call out, mend, liberate, and memorialize. Individually, we can only speak from our own lived experiences, so let this exhibition act as a reminder that solidarity amongst artists is an active and important tool within our collective practice. Transnational solidarity is the only way to eradicate colonialism, Zionism,  White supremacy, and Patriarchy on a global scale. 

Like ink, our solidarity towards all oppressed peoples is permanent and unwavering. Thank you to the artists, Blake Sanders, Graphic Impressions, and SGC International.  

Your co-conspirators,

Zeinab Saab + Olivia Richardson