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

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

The expectations of the viewer are what you're asking about. And the expectations of the viewer are manifold. However, they are very fixed, given who I am in the world. People have certain expectations of me as an artist.

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.

My studio practice is a - I suppose a bit more like [Thomas] Gainsborough or [Peter Paul] Rubens in the sense that any artist who wants to create a grand narrative on a grand scale has to sort of parse out some of the smaller aspects of painting or the more mundane aspects of painting to others.

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

I believe the artist is capable of contributing to the broader evolution of culture in all of its dimensions.