Collectible Patches

This 3 x 4 in. patch features Kehinde Wiley’s 2007 painting Romaine I, from The World Stage: China series. The painting features the model of the same name, with a fluorescent floral background, which protrudes into the foreground. Dye-sublimation with blue merrowed borders and iron on backing. Net proceeds from your purchase support the artist in residence program Black Rock Sénégal, founded by Wiley in 2019.  

This 3 x 3 in. square patch features Kehinde Wiley’s 2007 painting Romaine I, from The World Stage: China series. The painting features the model of the same name, with a fluorescent floral background, which protrudes into the foreground. Dye-sublimation with yellow merrowed borders and iron on backing. Net proceeds from your purchase support the artist in residence program Black Rock Sénégal, founded by Wiley in 2019.   ...

This 3 x 3 in. square patch features Kehinde Wiley’s 2008 painting Matar Mbaye II, from The World Stage: Africa, Lagos-Dakar. Featuring the model of the same name, an intricate grapevine background protrudes around his torso and into the foreground as his gaze meets the viewers directly. Taking on a more regional approach, Wiley turned to many post-colonial sculptures throughout Lagos and Dakar for reference poses for his models. Dye-sublimation with purple merrowed borders and iron on backing. Net proceeds from your purchase support the artist in residence program Black Rock Sénégal, founded by Wiley in 2019.

This 3 x 3 in. square patch features Kehinde Wiley’s 2009 painting Alegoria a Lei do Ventre Livre, reimagined from A.D. Bressae’s Alegoria a Lei do Ventre Livre (Allegory of the Law of Free Birth). The gesso scultpure serves as an allegory for the 1871 law that awarded “freedom” to children who were born of slave parents. Under this legislation, unless slave owners were compensated, these children were required to stay with their slave parents until they reached 21 years of age. The irony of this law is bypassed in A.D. Bressae’s rendering of a young Black boy proudly holding a notice of law in one hand, and a broken chain in the other. Wiley’s rendition features a model that is less-than-enthusiastic for such a legislation that ultimately bought slave owners more time against abolitionists. Dye-sublimation with green merrowed borders and iron on backing. Net proceeds from your purchase support the artist in residence program Black Rock Sénégal, founded by Wiley in 2019.  ...

This 3 x 3 in. circular patch features Kehinde Wiley’s 2020 painting Portrait of Savannah Essah. The model, of the same name, is a resident of London. The models for this series were scouted in the East London Neighborhood of Dalston. The backgrounds used in this series were taken from William Morris wallpaper designs, utilized in conjunction with the acclaimed feminist text, The Yellow Wallpaper, by Charlotte Perkins Gilman. Wiley’s The Yellow Wallpaper exhibition explored the themes of femininity and insanity, as described in the eponymous text, and places the female sitters in the language of the decorative to reconcile the themes of blackness and gender with a beautiful and terrible past, as the models gaze back at the viewers surrounded by Morris’ lavish and enveloping patterning. Dye-sublimation with blue merrowed borders and iron on backing. Net proceeds from your purchase support the artist in residence program Black Rock Sénégal, founded by Wiley in 2019. ...

This 3 x 3 in square patch features Kehinde Wiley’s 2009 painting Nelson Silva Eaflanzino Jr. The model, of the same name, is a resident of Vidigal, a neighborhood and favela in Rio de Janeiro, Brazil. The models for this series were sourced from the surrounding Rio de Janeiro area for The World Stage: Brazil series, some of which were recruited at Petrobas Espaco Cultural Nos do moro, a non-profit school for the Arts, where many actors from the 2003 Academy Award nominated film City of God were discovered. Confidently gazing into the viewer's eyes, Eaflanzino is immersed in a floral background that protrudes around his body and into the foreground, which is common practice for many compositions throughout Wiley’s oeuvre. Dye-sublimation with purple merrowed borders and iron on backing. Net proceeds from your purchase support the artist in residence program Black Rock Sénégal, founded by Wiley in 2019. ...

This 3.25 x 4 in. shield shaped patch features Kehinde Wiley’s 2016 painting Tomb of Pope Alexander VII Study I. A monochromatic floral background protrudes around the model and into the foreground. The subject is looking away from the viewer, in comparison to most of Wiley’s oeuvre meets the gaze between subject and onlooker. Dye-sublimation with purple merrowed borders and iron on backing. Net proceeds from your purchase support the artist in residence program Black Rock Sénégal, founded by Wiley in 2019.   ...

This 3.25 x 4 in. shield shaped patch features Kehinde Wiley’s 2006 painting Willem van Heythuysen, reimagined from Frans Hals’s Portrait of Willem van Heythuysen. Wiley’s model, a young man from Harlem, New York, can only be identified by the name of his 17th century counterpart, from the other Haarlem, in the Netherlands. Both subjects assume the position, sporting goatees, but our contemporary is draped in a snow-white Sean Jean tracksuit and Timberland boots. In this new rendition of the luxurious cloth merchant, Indian textile patterns flatten the background entirely, with tendrils protruding around the model and into the foreground. Dye-sublimation with gold merrowed borders and iron on backing. Net proceeds from your purchase support the artist in residence program Black Rock Sénégal, founded by Wiley in 2019.   ...