I love everything about it. His use of vibrant colour is fantastic.
The way she looks like she is standing in front of De Gournay wallpaper. The flowers look like a backdrop, but then you see them snaking through her hair and body.
The subtle shine of red and purple in her hair is something I didn’t notice at first.
There is so much detail in this painting it’s one of those pieces you can look at for a long time, and still find something new.
It seems to be part of his signature style to make it look like the wallpaper in the background is coming alive. You can also see it in this piece.
As a wallpaper designer I can’t help but be enchanted by the walls coming to life.
Both this collection and ‘An Economy Of Grace’ specifically focuses on black women. A lot of his previous portraits are of men. You can see more of these here.
The planning that has gone into these exhibitions is immense.
In 'An Economy Of Grace' Wiley chose to use poses from traditional society portraits, and collaborated with Riccardo Tisci to create each gown.
It always impresses me when artists work to large scales. The focus it must take to work on a small bit, and then keep checking the coherence of the whole painting.
You can see here the size of the portraits.
The models were all cast from the streets of New York. Can you imagine being picked to be the focus of such beautiful paintings?
Wiley addresses the underrepresentation of black women in art, especially in the starring role.
‘This series of works attempts to reconcile the presence of black female stereotypes that surrounds their presence and/or absence in art history, and the notions of beauty, spectacle, and the ‘grand’ in painting.”
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