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My assistants generally do all the flowers and all of the decorative work. I concentrate on the figure.

Kehinde Wiley

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Kehinde Wiley
Age: 47
Born: 1977
Born: February 28
Painter
LA
California
Figure
Figures
Flower
Work
Decorative
Assistants
Concentrate
Flowers
Generally

More quotes by Kehinde Wiley

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When you're at your best, you're analyzing yourself and becoming increasingly isolated from a broader narrative.
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He's a great - he's a great professor. He retired recently, but.But Peter Halley as well.
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We have a lot of sort of received historical ways of viewing portraiture. And I suppose in some way I'm sort of questioning that by toying with the rules of the game.
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Portraiture is something that we're all drawn to. I think primarily other forms - we prefer, by and large, to look at human beings than a bowl of fruit.
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I have a lot of problems with Western European easel painting.
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I create something that means something to me, to the world, and try to do my best. I can't fix everything.
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We're wired to be empathetic and to care about the needs of others, but also to be curious about others. And I think that's just sort of in our DNA. And so portraiture is a very human act.
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I enjoy Chicago as one of the great American cities. When I come here and take a taxi from the airport, I meet a young man from Somalia. I meet a young man from Eritrea who engages with this nation with a sense of hope and a sense of desire. But we also we know that there are other elements of this nation that are toxic.
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I've had moments where I've met people who were complete, like, idiots, who could not understand visual culture to save their lives.
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I've met others [people] who simply responded to me, You're Kehinde Wiley. I know your work. I saw it at the Brooklyn Museum [Brooklyn, NY] And I'd be honored to be in your work.
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I think there's something important in going against the grain, and perhaps finding value in things that aren't necessarily institutionally recognized.
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I guess art is in the eye of the beholder.
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I have been painting models with black and brown skin only for the past years. So, I did already have this experience, this is how I have come to the paintings I do now.
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There was no image of the other biological half of myself. And as an artists, as a - as an - as a portraitist, the look of who you are was radically important to me.
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You'll find that street casting in America is a lot different than street casting in different nations.
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So sometimes you have to play your hand and sort of push in a direction. And I think that masculinity is the driving point for a lot of the way that people, like, posture in the work.
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It never really understood its own situational luxury. And I think that by and large the privilege of being Kehinde Wiley in the 21st century, making these high-priced luxury goods, traveling the world, pointing at these people, behooves me to have a point of view and to say something about it.
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As a twin, I operate with twin desires.
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I have a really strong suspicion of the romantic nature of portraiture, the idea that you're telling some essential truth about the interior lives of your subject.
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Unlike the background in many of the paintings that I was inspired by or paintings that I borrowed poses from - the great European paintings of the past - the background in my work does not play a passive role.
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