Kehinde Wiley's Decade-Long Journey: Capturing the Essence of African Leaders in Presidential Portraits

Kehinde Wiley's Decade-Long Journey: Capturing the Essence of African Leaders in Presidential Portraits

Kehinde Wiley, renowned for his iconic portrait of President Obama, embarked on a groundbreaking project spanning a decade Delving into Africa, he meticulously painted heads of state, igniting a conversation on the perception of power Discover the hidden world of presidential portraits with Wiley

Throughout art history, the elite and the affluent have used portraiture to showcase their status. This includes not only kings and queens, but also military figures, aristocrats, and prominent figures in the industry. This trend is particularly prominent in Western art, when European nations were expanding their territories, people, and trade.

However, what about those who were conquered and colonized? Many forms of visual expression that represented power were silenced by imperial rule. Even after gaining independence, some remnants of Western influence remained. Africa has gradually regained its sovereignty, one nation at a time. (For instance, Zimbabwe, previously known as Rhodesia, was the last country under European rule to achieve independence in 1980.) Nevertheless, do African leaders receive the same recognition as their Western counterparts? Kehinde Wiley suggests otherwise in his latest collection, "A Maze of Power," which showcases his distinctive style and sheds light on this matter.

Wiley, known for his renowned portrait of former US President Barack Obama in 2018, was born in Los Angeles and currently resides in Senegal, Nigeria, and New York. Recently, it has come to light that he embarked on a covert journey spanning a decade across Africa, capturing its present and past heads of state in a captivating series of 11 paintings. These extraordinary works, developed in collaboration with Galerie Templon, are now being showcased at the Musée du quai Branly - Jacques Chirac in Paris, France. The exhibition has been shrouded in secrecy, with the identity of the featured leaders only revealed at the last moment.

Wiley got the idea for the portraits when Obama was elected president in 2008, according to Sarah Ligner, the head of the historical and contemporary globalization collection at the museum. Ligner explained that Wiley began exploring the concept of power and what it looked like through the possibility of portraying Black presidents.

The portraits, styled after European paintings from the 17th to 19th century, initiate a conversation about power in the 21st century by utilizing artistic elements from the past. In a video featured in the exhibition, Wiley contemplates whether it is possible to combine the language of empire in African painting and create something entirely new. The answer to this question is both yes and no.

This is not uncharted territory for the artist: Wiley has previously reimagined portraits by Old Masters, employing members of the public, his fellow artists, and hip hop pioneers as his subjects. In this particular series, the subjects exude a comparable authority to that of Wiley's artistic inspirations.

Kehinde Wiley's Decade-Long Journey: Capturing the Essence of African Leaders in Presidential Portraits

Kehinde Wiley's artwork depicting Olusegun Obasanjo, the former President of Nigeria in 2023, and Paul Kagame, the President of Rwanda in 2023, titled "Portrait of Olusegun Obasanjo" and "Portrait of Paul Kagame" respectively, are currently exhibited in Paris. The exhibition is made possible through the courtesy of Kehinde Wiley and Galerie Templon.

Hery Rajaonarimampianina, the ex-president of Madagascar, is depicted riding on a horse in one painting. In another, Sahle-Work Zewde, the president of Ethiopia, stands thoughtfully with the vibrant capital of her country, Addis Ababa, visible over her shoulder. The portrait of Alpha Condé, the former president of Guinea, combines a sleek, ink blue suit with a backdrop featuring classical statues and architecture.

For this project, Wiley traveled to various countries including Rwanda, Nigeria, Ghana, Ivory Coast, Guinea, Ethiopia, Togo, and the Democratic Republic of Congo. He captured photographs of the leaders in these locations before returning to his studio to paint them.

Each participant was instructed to wear attire of their choice and presented with a portfolio of historical portraits - a collection representing power that each president could either embrace or disregard, as described by Wiley in the exhibition video.

While some leaders incorporated additional objects into their portraits, such as Rajaonarimampianina who included a horse due to his passion for these animals, Ligner revealed that the backgrounds were primarily provided by the artist himself. Wiley explained, "My intention was to create a dialogue between reality and imagination, between the decisions made by heads of state and the decisions made by myself."

Wiley explained in the video that the exhibition's title is "The maze of power is the maze being run by me, the artist, and also by the sitter." He further stated that the sitter determines how they want to be portrayed, and he responds accordingly to their choices.

According to Ligner, during the photo sessions, Wiley deliberately avoided discussing political matters with the subjects.

Not all of his subjects have impeccable reputations, and one of them, Condé, was eventually overthrown in a coup in 2021. Some individuals might find it off-putting to witness certain leaders or former leaders being portrayed in such a celebratory manner.

Ligner stated, "These portraits can be interpreted from various perspectives. The significance of this series lies in its ability to provoke and question preconceived notions and stereotypes."

In addition, she highlighted that artists have previously showcased models without political or moral standards, citing Andy Warhol's extensive assortment of Chairman Mao Zedong portraits from the 1970s. This serves as another instance of portraits that do not endorse their subjects but instead explore the symbolism within the world of art.

Wiley emphasized, "Our intention is not to glorify specific leaders. Instead, we aim to examine the concept of presidency itself." She further expressed that this exhibition invites viewers to broaden their perspectives on how African art is perceived and understood.

As none of the models were allowed to see their finished portraits before the exhibition opening, stated Ligner, they have not yet visited the museum. However, officials from different states have. Wileys subjects as well as the general public will have the opportunity to explore the Maze of Power and witness, firsthand, how power is depicted through his brush strokes until January 14.