Ibrahima Sacho II 2007

Curator: Kehinde Wiley's 2007 piece, "Ibrahima Sacho II," immediately grabs you with its bold presence. What's your initial take? Editor: The portrait practically vibrates. It’s this incredible collision of formal, classical painting meeting vibrant, almost Pop Art, textiles. All that decorative energy pushing against the figure's...reserved gaze. What a setup. Curator: Precisely! Wiley juxtaposes the traditional European portraiture, you know, the kind of grand, aristocratic depictions, with contemporary young Black men he encounters. The ornate background here – a reproduction of West African fabric, I think – totally re-contextualizes the sitter. Editor: Absolutely, the choice of materials speaks volumes. Look at the oil paint, for instance. Historically linked with wealth and status, now being used to portray someone who likely comes from a very different background. Wiley is actively disrupting the art historical narrative. Curator: And not just disrupting, but celebrating. These aren’t passive portraits. The pose, the direct gaze...there's a clear sense of agency. It's like Wiley's saying, "These men deserve to be seen, to be monumentalized." The peacock-like design gives a feel of power. Almost regal. Editor: Right. Considering that these textiles are themselves products of complex trade relationships, global economies and their material consequences are ever present in his composition. So the choice isn't simply decorative; it embeds the subject within a specific system of production and consumption. And it's all painted meticulously. Curator: I’ve always been fascinated by how he sources his subjects too. It is almost always young men he sees in everyday settings, then invites to select a background from art history books and these patterned fabrics. This element of collaboration is crucial. The sitter gets to participate in their own representation. Editor: And that choice underscores the performative aspect of identity itself. We are not static objects; instead we actively choose what face to present to the world. This painting asks us to consider: What does it mean to see and be seen? Curator: For me, the painting hums with quiet power, a potent declaration. Editor: Indeed, it's an object lesson on how art can invite us to confront the visual economy in our daily lives.