Like, the smells and the sights and the sounds. As an artist, you want to sort of be able to engage that and get that down in some way. This is - this is a type of familiarity but a type of radical difference at the same time.

I grew up in South Central Los Angeles, where people are in cars.

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

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 was surrounded by art by virtue of not only the educational opportunities that my mother's foresight availed me to.

I think there's something important in going against the grain, and perhaps finding value in things that aren't necessarily institutionally recognized.

I think it's possible to allow an artist to go beyond his borders and play.