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

Almost as though the painting itself becomes the embodiment of a type of struggle for visibility, and this might be considered the main subject of the painting.

I'm fully capable of multitasking certain conceptual concerns within the work.

What I love in art is that it takes known combinations and reorders them in a way that sheds light on something that they have never seen before or allows to consider the world in a slightly different way.

I love the of dealing with the homoerotic versus the idea of dealing with certain tropes with regards to black masculinity in the world, propensity towards sports, antisocial behavior, hypersexuality - all of these sort of non-truths that I don't exist in but that I see as being fixed in the world's imagination.

For me, I wanted to create something that's much more driven by a type of selfishness, a type of decadence.

Usually I bring very attractive women with me to excite interest. I mean, it's a type of, like, strangers-with-candy situation.