We have a lot of sort of received historical ways of viewing portraiture. And I suppose in some way I'm sort of questioning that by toying with the rules of the game.

There is no purity with regards to the marketplace and art, I believe.

When I look back at my paintings, they don't give me a sense of where I was when I first met that guy. They don't give me a sense of what I felt like when I first saw that original source material. They give me a sense of the world that I'm trying to create. And we all just have to deal with that.

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

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

My assistants generally do all the flowers and all of the decorative work. I concentrate on the figure.

This 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.