A Quote by Kehinde Wiley
Unlike the background in many of the paintings that I was inspired by or paintings that I borrowed poses from - the great European paintings of the past - the background in my work does not play a passive role.
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A role is a role where I play someone else, but when it comes to paintings, it is me. It is unadulterated Shefali and there is no control and I can let go. I am unabashedly unapologetic about it. That is what is interesting about my paintings.
The spot paintings and spin paintings were trying to find mechanical ways to make paintings.
I think that people tend to look at the paintings as being resolved or finite. But, to me, a painting can be an index for all of the paintings I've done and all of the paintings I'm going to do. It's like if I'm doing a film of the Olympics, I'm not examining a specific sport; I'm interested in the overall context.
I want to make beautiful paintings. But I don't make beautiful paintings by putting beautiful paint on a canvas with a beautiful motif. It just doesn't work. I expect my paintings to be strong and surprising.
People are still making paintings. People are still enjoying paintings, looking at paintings. Paintings still have something to tell us. There's a way of being in the world that painting brings to us, that painters bring to the task that we absorb and are able to be in dialogue with. That's something that's part of us.
I don't paint over my paintings with black paint. I paint black paintings. It isn't because I'm sad, just as I didn't paint red paintings yesterday because I was happy. Nor will I paint yellow paintings tomorrow because I'm jealous.
I enjoy thinking about how paintings can change depending on where they are - how they look in a gallery or in relation to other paintings, or in different rooms. Paintings can change the way we experience and see the world.
You have to act and this is something that happened in abstract expressionism too, it was a discovery particularly in De Kooning's paintings, great paintings. There's a lot of speed in his work and the speed produces things that only speed can produce.
A New York audience generally likes decorative paintings, and decorative paintings go with the couch. If you change the couch, you change the painting. And when you're coming up, and the paintings aren't first-class decoration, you're at a disadvantage for publicity and sales.
The paintings of Francis Bacon to my eye are very beautiful. The paintings of Bosch or Goya are to my eye very beautiful. I've also stood in front of those same paintings with people who've said, 'let's get on to the Botticellis as soon as possible.' I have lingered, of course.
The black person is the protagonist in most of my paintings. I realized that I didn't see many paintings with black people in them.
I want to create a thousand paintings, maybe two thousand paintings, as many as I can draw.
One of Cezanne's unfinished paintings... appears to be a completed work even though only a few strokes of paint have been put down. My methods are similar... I expect each of my paintings to appear whole in every stage.
Van Gogh was asked how he created such beautiful paintings. He said I dream my paintings and then I paint my dreams.
The spot paintings, the spin paintings, they're all a mechanical way to avoid the actual guy in a room, myself, with a blank canvas.
The supreme question about a work of art is out of how deep a life does it spring. Paintings of Moreau are paintings of ideas. The deepest poetry of Shelley, the words of Hamlet bring our mind into contact with the eternal wisdom; Plato's world of ideas. All the rest is the speculation of schoolboys for schoolboys.
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