In my work, I want to create an understanding, not about what a painting looks like but about what a painting says.

Going back to that idea that painting sits still and that we give ourselves over to it over time. There's a difference between living with - imagine if this were sitting in your living room for 15 years. You'd probably understand the contours of it.

I think it was a matter of, like, I'm not going to have my kids in these wild streets. Both my twin brother and I were in art school together.

I use those expectations as a color on my palette, a certain temperature in the room. You can use those expectations for the great punchline, but also for a great painting, in society.

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."

I think that artists provide questions, not answers. We provide provocations rather than fully formed objects.

At the same time I really enjoy painting flesh.