American - Artist | 1977 -
Once I get a project in my head, I start getting really obsessive about it.
Kehinde Wiley
StartProjectHeadGetOnceReally
Art in the age of the digital image is completely different from experiencing art in physical form.
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For years, I've been painting black men as a way to respond to the reality of the streets. I've asked black men to show up in my studio in the clothes that they want to be wearing. And often times, those clothes would be the same trappings people would see on television and find menacing.
MenPeoplePaintingBlackReality
At the core, every artist, no matter what his subject matter happens to be, has to be someone doing the looking. I began to really interrogate the act of looking.
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What you have in my work is one person's path as he travels through the world, and there is no limitation of what is conceivable.
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It's so easy just to see the one-to-one narrative between presence and non-presence.
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I remember the first time I went to the Los Angeles County Museum of Art and saw a Kerry James Marshall painting with black bodies in it on a museum wall... It strengthened me on a cellular level.
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If people looked at me like I was a little different, I would maybe sit next to them, and I would draw.
PeopleMeNextLittleSitDifferent
My work is a contemporary call to arms. It is time to get our mojo back. To rediscover our true north.
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I think my life has been transformed by the ability to take things that exist in the world and look at them more closely. I think that's what art does at its best: it allows us to slow down.
LifeArtBestWorldThinkSlow
Being a kid with black skin in South Central Los Angeles, in a part of the world where opportunity didn't necessarily knock every day, is what gave me this sensibility and drove me to explore my fascination with art.
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What I try to do is defy expectations in terms of boundaries, whether it is high or low art, pop culture, or fine-art culture. My work is about reconciling myriad cultural influences and bringing them into one picture.
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