'If I can effect any kind of change or conversation… I want non-traditional artists to have a seat at the table.'
in Paris. Set against his signature brightly decorative backgrounds—here drawn from linocuts used to produce patterned textiles—his aesthetically impactful series focuses on the Māhū, a community of Tahitian transgender women, whose once-respected legacy was quashed by 19th-century Christian missionaries. The sitters, restored to glory, are magnificent: robust and commanding, direct and unflinching.
Kehinde Wiley, Portrait of Tuatini Manate, III, 2019, Oil on linen, Photo: Diane Arques / ADAGP, Paris, 2019. Courtesy Templon, Paris & Brussels. It’s a very popular show. Finally! And we’re starting to see that we can get people to show up if we simply become inclusive of a population… in modern France, these people exist too. It’s a simple ‘yes.’ That’s all it is. ‘Yes, you too!’ And the numbers go up. People vote with their feet [to create traffic]. It’s not some magic revolution; it’s just common sense. Hi! I feel welcome.
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