I think that's kind of indicative of a type of self-confidence that people develop when they recognize their own ability to create.

What I love in art is that it takes known combinations and reorders them in a way that sheds light on something that they have never seen before or allows to consider the world in a slightly different way.

So much of my work is defined by the difference between the figure in the foreground and the background. Very early in my career, I asked myself, "What is that difference?" I started looking at the way that a figure in the foreground works in eighteenth- and nineteenth-century European paintings and saw how much has to do with what the figure owns or possesses. I wanted to break away from that sense in which there's the house, the wife, and the cattle, all depicted in equal measure behind the sitter.

There are just so many different types of people that come into my studio, and secondarily, there's the idea of ideation, like, "Who are you and what do you see in yourself in this other person?" So many different people that you would see so many different things.

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

If I have the same plan to go into the streets, find random strangers, use art-historical referent from their - from the specific location, to use decorative patterns from this location, that's a rule. That's a set of patterns that you can apply to all societies. But what gives rise or what comes out of each experiment is so radically different.

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