Painting is situational. And my particular situation exists within gender, race, class, sexuality, nation.
I have a lot of problems with Western European easel painting.
He [Michael Jackson] would choose specific moments. They were art history books that I prefer. They were paintings that he prefers. It's this dance back and forth. We were halfway through the dance. He died.
I like to play with the conventions around what we expect of paintings historically. But I also like to play with the conventions that you expect from a Kehinde Wiley painting, too.
In the end I'm in love with it [Western European easel painting]. And that's where a lot of the influence from the work comes from.
At the same time I really enjoy painting flesh.
That should be something that an artist can respond to as well in terms of a painting.
