What's great about it is that painting doesn't move. And so in the 21st century, when we're used to clicking and browsing and having constant choice, painting simply sits there silently and begs you to notice the smallest of detail.

On the contrary, my desire is that the viewer sees the background coming forward in the lower portion of the canvas, fighting for space, demanding presence.

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

Joseph Gotto, yeah. Just all-around one of the more inspiring artists - not because of any sort of specific content direction, but rather the respect that I had for his own work and the ability for him to translate his ideas into useful form for me as a student.

I think that the Kehinde Wiley brand is something that I'm working towards expanding and to inclusion.

I think that just the nature of art education in schools, it's about packs, you know? Like, we're young wolves running together, creating a consensus. And consensus is antithetical to the art process.

I like to play with the conventions around what we expect of paintings historically. But I also like to play with the conventions that you expect from a Kehinde Wiley painting, too.