I think that I'm increasingly aware of the fact that in order to work towards any statement that's radically global or universal, you have to start in a place that's radically intimate and particular.
Kehinde WileyI happen to be a twin. I grew up half of my life with someone who looks and sounds like me. And I believe it's possible to hold twin desires in your head, such as the desire to create painting and destroy painting at once. The desire to look at a black American culture as underserved, in need of representation, a desire to mine that said culture and to lay its parts bare and look at it almost clinically.
Kehinde WileyWhen we talk about Orientalist painting, we're talking about painting generally from the seventeenth through the nineteenth century, and some would say even into the twentieth, that allows Europe to look at Africa, Asia Minor, or East Asia in a way that's revelatory but also as a place in which you can empty yourself out. A place in which there is no place. It's an emptiness and a location at once.
Kehinde WileyYou know, one of my - one of my best and, I think, most enlightening moments was when I was contacted by Michael Jackson. And he requested that I paint his portrait.
Kehinde WileyI suppose in the end what shift occurred - is that at Yale I began to become more materially and conceptually aware of the mechanisms that gave rise to those types of patterns and paintings. And so the copying that happened in the childhood was a much more conscious type of copying in later years.
Kehinde Wiley