There's something really cool about taking oily coloured paste and pushing it around with these hairy sticks and making something that looks like you. That's the magic of painting.
Kehinde WileyRead
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.
Interpretation
The quote reflects how a challenging environment influenced the author’s passion for art.
Kehinde Wiley's quote reveals the profound impact of his upbringing in South Central Los Angeles on his artistic journey. Growing up as a Black child in a community where opportunities were scarce shaped his sensitivity to the world around him, igniting a deep fascination with art as a means of expression and exploration. His experiences served not only as a backdrop for his creativity but also as a source of inspiration that drives his work.
In practice
In a speech about the importance of diversity in art, this quote could highlight the influence of personal background.
There's something really cool about taking oily coloured paste and pushing it around with these hairy sticks and making something that looks like you. That's the magic of painting.
This idea that my work is about hip-hop is a little reductive. What I'm interested in is the performance of masculinity, the performance of ethnicity, and how they intermingle across cultures.
What is portraiture? It's choice. It's the ability to position your body in the world for the world to celebrate you on your own terms.
The ability to be the first African-American painter to paint the first African-American president of the United States is absolutely overwhelming. It doesn't get any better than that.
Painting is about the world that we live in. Black men live in the world. My choice is to include them.
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.
I have never followed fashion. What is fashion to me? I just think of things that inspire me, that inspire women, and I design that way.
I'm a brown girl from a Punjabi pind raised in Toronto. I don't expect literary critics and purists to understand the nuances of my experiences, and the experiences of the people around me... And my tradition holds that there is a magic in the written word. So how I write, what I write of, and why I write all comes naturally.
Even a really bad creator would at least have started with Earth, Air, Fire, Water and Surprise.
I came to poetry through the urgent need to denounce injustice, exploitation, humiliation. I know that's not enough to change the world. But to remain silent would have been a kind of intolerable complicity.
There is something suspicious about music, gentlemen. I insist that she is, by her nature, equivocal. I shall not be going too far in saying at once that she is politically suspect.
When I am dancing, it feels like my prayer. It's like an offering. I offer my head back to the dance, I offer my shoulders back to the dance, my elbows, my hands, my spine, my knees, my feet, my whole self, my bones, my blood, my experience, my suffering... I offer it all back to the dance and I say: take it, do whatever you want with me. Release me.
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