Hamza El Essawi 2011

Editor: We’re looking at Kehinde Wiley's "Hamza El Essawi," created in 2011. It seems to be a mixed-media painting – so vibrant! I’m immediately struck by the juxtaposition of the subject's casual, almost contemporary, appearance with the ornate, classical backdrop. How do you unpack all those layers? Curator: Ah, Wiley, a master of visual conversation! To me, it's like Wiley's having a cheeky chat with art history. He's plucking these everyday folks, often from the streets, and popping them into these grand, history-soaked poses and backgrounds that used to be reserved for royalty and saints. What do you make of Hamza’s expression, posed so coolly against all that grandeur? Does it resonate differently seeing him 'elevated', so to speak? Editor: It does! He’s… almost daring you to question his presence there, like he owns it. It's definitely a power statement, but also makes you think about who gets to be represented in art, and in what way. I am also intrigued about why the foliage is placed on top of the body rather than in the background only. Curator: Exactly! Wiley turns those traditional power dynamics on their head, doesn't he? As for the overlay of foliage, think of it as this...a gilded hug from art history. It obscures slightly, while also elevating and decorating his form as the gold accentuates the overall effect in line and mood. Its a conversation between street style and old master aesthetics – the familiar made magnificent, almost mythic. Is it effective, would you say? Editor: Absolutely! It’s provocative and gives you so much to think about. I now understand that It's a dialogue between past and present. Curator: Couldn’t agree more. I come away reminded that the power of art isn't just in what we see, but how it makes us see. Editor: Definitely a new way to look at portraiture! Thanks for helping me see what makes Wiley's work so amazing.