A Quote by Kehinde Wiley
Most people say, "Hell, no. I don't know who you are. This scares me. Like, I'm not interested in this."Another way of looking at these paintings is, these are the guys who said yes.
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As I say, there's something that scares the hell out of me but it really makes me work hard in losing myself. I'm not really interested in me as an actor or being a personality player, or a Hollywood star. What's given to me is to become different people and to find the truth of that. That is really what I do.
It doesn't matter that Bush scares the hell out of me. What matters is that he scares the hell out of a lot of very important people in Washington who can't speak out, in the military, in the intelligence community.
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.
It's poor judgment', said Grandpa 'to call anything by a name. We don't know what a hobgoblin or a vampire or a troll is. Could be lots of things. You can't heave them into categories with labels and say they'll act one way or another. That'd be silly. They're people. People who do things. Yes, that's the way to put it. People who *do* things.
I think the people already know what they're doing wrong, and I certainly believe in Hell. But to me, when I see thousands of people before me, it just doesn't come out of me to say, 'You guys are terrible, and you're going to Hell.' I'd rather say that God is a God of mercy. You've got to live an obedient life, but for every mistake you've made, there's mercy there, and I believe we can do better.
He said to me once that most of the time people use the word love as just another way to show off they're hungry. The way he said it went something like: Glorify their appetites.
I said you [Mike Pence] can't give me this [Purple Heart]. He said, "Mr. Trump you mean so much to me and my family." You know we're doing very well with the veterans. I know you guys do not like to say that.
At a lecture, a guy said to me, "You know, when I look at your work, I don't know what I'm looking at, but when I look at a Willem de Kooning painting, I know what that is." I said, "Well, the paintings I'm doing have a very legible sentence at the top of the canvas." At a lecture, a guy said to me, "You know, when I look at your work, I don't know what I'm looking at, but when I look at a de Kooning painting, I know what that is." I said, "Well, the paintings I'm doing have a very legible sentence at the top of the canvas."
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 mean, these are really dedicated people [in Lovecraft Society] when it comes to [h.P.] Lovecraft. But in the top floor of the John Hay Library, you have all of Lovecraft's archives. And messing around in there, I noticed, I said, what are these paintings? And the librarian told me, "Well, those are Pickman's paintings." I said, "I thought this was like something he made up, like The Necronomicon, that kind of stuff." And he said no, that the guy actually existed.
I pay my models to work with me, so there becomes this weird sort of economic bartering thing, which made me feel really sort of uncomfortable, almost as though you were buying into a situation - which, again, is another way of looking at those paintings. The body language in those paintings is a lot more stiff.
Vince McMahon said to Triple H, 'Are you sure he's a heel? I don't know. He's funny.' He decided he wanted me to be a babyface and when they came to me they said, 'You can say no, but here's what we're looking at. Funkasaurus is the fastest way to be back on TV.'
Artists will come into my office and say, "I just came from another label and they said you're research guys, you're data guys." I don't know what that means. Everybody who says that is being naive.
I like it when people are kind and I like people who are looking for collaborators. Sometimes you can feel like a moving prop, and that could be amazing, you can be a prop in somebody's incredible vision, but I'm more interested in people who are looking for actors they can collaborate with and make something together with. I like stretching myself, I like trying new things out, but I'm really interested in working with directors who have a very specific style and a unique way of working.
If a European guy came to Africa and said hey guys, you don't have good - people could tell him to go to hell. You are an imperialist. You are a colonialist. Who are the hell are you to come and tell us what to do? I'm an African. Whatever I say nobody in Africa tell me well, it's not of your business. It is my business.
Somebody talked me into writing an autobiography about six or seven years ago. And I said I'd try. We talked into a tape recorder, and after a couple of months, I said, To hell with it. I was so depressed. It was like saying, 'This is the end.' I was more interested in what the hell was coming the next day or the next week.
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