A Quote by Kehinde Wiley
My studio practice is a - I suppose a bit more like [Thomas] Gainsborough or [Peter Paul] Rubens in the sense that any artist who wants to create a grand narrative on a grand scale has to sort of parse out some of the smaller aspects of painting or the more mundane aspects of painting to others.
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The thing is that the money issue looms so large in art now. And it has absolutely nothing to do with art. If you're painting goes for ten grand or a hundred grand, it doesn't make painting any easier. And it doesn't make the painting any better if it goes for a hundred grand.
I think, at the L.A. County Museum of Art, I saw my first example of Kerry James Marshall, who had a very sort of heroic, oversized painting of black men in a barbershop. But it was painted on the same level and with the same urgency that you would see in a grand-scale [Anthony] van Dyck or [Diego] Velazquez. The composition was classically informed; the painting technique was masterful. And it was something that really inspired me because, you know, these were images of young, black men in painting on the museum walls of one of the more sanctified and sacred institutions in Los Angeles.
Initially I explored the tension between illustration and fine art when I first encountered miniature painting in my late teens. Championing the formal aspects of the Indo-Persian miniature-painting genre has often been at the core of my practice.
While it may seem a little mundane, the material realities of realizing the painting actually have a lot to do with how you should read the painting. For example, we assume that what the model is wearing is what we found him in in the streets. No; in fact, a lot of what happens is that in Photoshop certain aspects are being heightened or diminished. There is no actual material truth in these paintings.
Being here by the ocean in Malibu. Living in this beautiful house that we built, that took so long to build. Being in my art studio, painting. Packing my bags tomorrow to go home to Kauai where we have a house. Which all sounds very grand, and I suppose it is, in some respects, but nothing comes from nothing. It all comes from hard work.
Being in the studio, it's more of a controlled environment, where you can be Salvador Dali and sit back and look at the painting. And you can go, 'Ah, you know what? Maybe a little bit more red over here...maybe add some blue over here.' You can sit back and look at the painting.
Painting, for me, when it really 'happens,' is as miraculous as any natural phenomenon - as say, a lettuce leaf. By 'happens,' I mean the painting in which the inner aspect of man and his outer aspects interlock.
Maybe poets express more directly a sense of sympathy for other human beings. Painting is a little bit more of a retreat from human beings in real life; painting is more about the extreme moments when speech doesn't help anymore.
Comedy is the one absolutely self-aware art form. Actually, hip-hop's another one, I suppose. Because in your songs you're talking about how good a hip-hop artist you are. It's like a painter painting a panting of himself painting a painting.
as a society emphasizes and values some aspects of the total range of human potentials more than others, the valued aspects are associated closely with, and limited to, the dominant group's domain.
Many activists don't want to hear about some grand narrative, one that could unify all of our struggles. So the major issue that needs to be addressed is how to get people to see that there is indeed a grand narrative which just happens to be true.
Studio Ghosts: When you're in the studio painting, there are a lot of people in there with you - your teachers, friends, painters from history, critics... and one by one if you're really painting, they walk out. And if you're really painting YOU walk out.
It's sort of like my past is an unfinished painting, and as the artist of that painting, I must fill in all the ugly holes and make it beautiful again.
Why was the painting made? What ideas of the artist can we sense? Can the personality and sensitivity of the artist be felt when studying the work? What is the artist telling us about his or her feelings about the subject? What response do I get from the message of the artist? Do I know the artist better because of the painting?
Sometimes you look at a painting and certain parts are so beautiful. You say, "Wow, this is fantastic," but 10 minutes later you most likely have to kill it. Every painting wants to live. You want to build and bring this type of painting to the climax. When it's at the highest point, you want more. And then if you want more, you might destroy it. So you take a chance.
I want to get an handful of spare basses to use first of all if mine breaks, and second, to learn some things about aspects of basses that I like, so Paul can build those aspects into it.
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