I think that gave rise to the type of practice that I - that I do now. I … - Kehinde Wiley

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Working with devices and guitar pedals and mixers and synthesizers is what I do, and I prefer people not focus on that because it's kind of distracting from what the point should be. At least for me, it's to have the primacy of aurality in the experience of that evening.

Kehinde Wiley

I think that gave rise to the type of practice that I - that I do now. I think it was informed by a very Marxist almost "use-value"-driven investigation of painting as agent. These are high-priced luxury goods for wealthy consumers, which are designed to deliver certain communicative effects.

Consumers, Designed, Effects, Luxury Goods, Practice, Thinking

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I think the world that I grew up in was like being in this sort of magical artistic garden.

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There is something to be said about laying bare the vocabulary of the aristocratic measure, right? There's something to be said about allowing the powerless to tell their own story.

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Can I - do I have to be obsessed with it and proceed from that? Not always. But when I'm on top of my game, I definitely think about the way that the world sees me and the way that the world thinks about painting. You must.

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It was probably one of the things that gave me a sense of possibility and allowed for me to see beyond the small community that I existed within. You know, I was making friends with young Soviet kids. this is during perestroika. You know, there's bread lines and vodka lines. The entire social structure of what was then the Soviet Union was radically different from what we know today.

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I grew up in South Central Los Angeles, where people are in cars.

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