Portraiture is something that we're all drawn to. I think primarily other forms - we prefer, by and large, to look at human beings than a bowl of fruit.

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

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

The art world has become so insular. The rules have become so autodidactic that, in a sense, they lose track of what people have any interest in thinking about, talking about or even looking at.

When the fat lady comes out to sing, we don't know how she feels that day. We don't know if she's suffering from a cold or is mourning a death or falling in love. We don't know. But so all of that chance is the performance.

I try to create a place of disorientation.

That's what I think my job in the world has been, is to sort of try to sit silently a bit and watch it all sort of move and see those small, quiet details, whether it be a small village outside of Colombo [country?] or the favelas of Brazil, where, again, resistance culture is something that you hear resonating in the streets of South Central Los Angeles as well.