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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 2005 painting Napoleon Leading the Army over the Alps, reimagined from Jacques Louis-David’s equestrian portrait, Napoleon Crossing the Alps. Wiley’s composition is nearly identical to its 1801 counterpart, replacing the original background of Great St. Bernard Pass with an ornate monogram one, which protrudes around the equestrian into the foreground. Enrobed in camouflage and Timberland boots, the model is surrounded by sperm cells floating throughout the canvas, homoerotically satirizing the perpetuated masculine might that lives within the traditional practice of equestrian portraiture. 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.   ...

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. 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 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. 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 3.25 x 4 in. shield shaped patch features Kehinde Wiey’s 2018 painting Jacob de Graeff, reimagined from Gerard ter Borch’s 1674 painting of the same name. Brincel Kape’li Wiggins Jr. is the subject of this painting, his hat reads “Ferguson,” a neighborhood outside St. Louis where Michael Brown was killed by police in 2014, sparking protests and outrage throughout all 50 states. Commissioned by the St. Louis Art Museum, Wiley scouted for models throughout northern St. Louis and Ferguson to be the subjects of 11 portraits, all of which would be inspired by historic portraits within the museum's permanent collection. Dye-sublimation with deep teal 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 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. circular patch features Kehinde Wiley’s 2020 painting Portrait of Asia-Imani, Gabriella-Esnae, and Kaya Palmer. The models, a mother with her two young daughters, are residents 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 orangemerrowed borders and iron on backing. Net proceeds from your purchase support the artist in residence program Black......