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

What's interesting about my project recently is that I'm going out into broader global spaces but then isolating at the same time - sort of pushing out but then pulling in.

You'll find that street casting in America is a lot different than street casting in different nations.

A realization and a dissection of the canon gave rise to the work. But there's also a sneaking suspicion of the canon.

I've met others [people] who simply responded to me, "You're Kehinde Wiley. I know your work. I saw it at the Brooklyn Museum [Brooklyn, NY] And I'd be honored to be in your work."

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.

Your best as an artist is to create something that resonates for you.