There's quite obviously the desire to open the rule sets that allow for inclusion or disclusion. I think that my hope would be that my work set up certain type of precedent, that allowed for great institutions, museums and viewers to see the possibilities of painting culture to be a bit more inclusive.
Kehinde WileyI would imagine that what you try to do is to - is to be as sensitive to the environment that surrounds you as possible. As you see, my work has become increasingly global. My presence in the world has become increasingly global.
Kehinde WileyThat's what I think my job in the world has been, is to sort of try to sit silently a bit and watch it all sort of move and see those small, quiet details, whether it be a small village outside of Colombo [country?] or the favelas of Brazil, where, again, resistance culture is something that you hear resonating in the streets of South Central Los Angeles as well.
Kehinde WileyThere were certain expectations that were assumed of me as a young black American 20th-century - then 20th-century artist.
Kehinde WileyI feel sometimes constrained by the expectation that the work should be solely political. I try to create a type of work that is at the service of my own set of criteria, which have to do with beauty and a type of utopia that in some ways speaks to the culture I'm located in.
Kehinde Wiley