For example, in one of my last exhibitions I had a 50-foot massive painting with I think perhaps a hundred thousand hand-painted small flowers. This was the Christ painting [The Dead Christ in the Tomb, 2008] in my Down exhibition [2008]. Now, I simply can't spend eight hours a day painting small, identical flowers. And so I've got a team that allows me to have these grand, sweeping statements.
Kehinde WileyWhen I went to the Studio Museum in Harlem, there was a type of freedom that existed where I didn't have to think about professors, where I didn't have to think about much of anything other than my own practice.
Kehinde WileyGoing 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.
Kehinde WileyThis is - it's a sociological experiment in many ways. And so you're seeing the results of what happens when you put a lot of boys in a room looking at art history.
Kehinde WileyFor example, in one of my last exhibitions I had a 50-foot massive painting with I think perhaps a hundred thousand hand-painted small flowers. This was the Christ painting [The Dead Christ in the Tomb, 2008] in my Down exhibition [2008]. Now, I simply can't spend eight hours a day painting small, identical flowers. And so I've got a team that allows me to have these grand, sweeping statements.
Kehinde Wiley