I have been painting white people for much longer in my life than I have done for colored people.

I think that at its best you just have to respect each arena for what they can do well.

In high school I went to the Los Angeles County High School for the Arts. And this is like Fame. It's like that sort of prototypical, dancers in the hallway, theater students, musical students, art geeks. And it was a kindergarten in the truest sense of the world: a children's garden where I was able to sort of really come into myself as an artist, as a person, sexuality issues - like, all of this became something where there was a firming-up and a knowing that went on.

My mother's from Texas. Small town outside of Waco called Downsville. And my father's from Nigeria. And so I guess I'm properly African-American.

There was no image of the other biological half of myself. And as an artists, as a - as an - as a portraitist, the look of who you are was radically important to me.

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

I have a lot of problems with Western European easel painting.