I use those expectations as a color on my palette, a certain temperature in the room. You can use those expectations for the great punchline, but also for a great painting, in society.

The expectations of the viewer are what you're asking about. And the expectations of the viewer are manifold. However, they are very fixed, given who I am in the world. People have certain expectations of me as an artist.

I love being able to have a team.

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."

I think that I'm increasingly aware of the fact that in order to work towards any statement that's radically global or universal, you have to start in a place that's radically intimate and particular.

Just physically, if you looked at the house that I grew up in, my mother created this greenhouse. And surrounded the entire property. And there was, like, trees and sculptures and like - it was, like, this crazy, like, secret garden space.

I love being a portraitist.