Rodney King Artist Interview: Honoring a Love of Black Culture

Artistic Rediscovery During COVID-19

King’s paintings come to life with geometric lines of varying sizes, which weave across his canvases in dynamic interplay. His choice to use rich hues such as gold and brown, complemented by blues and reds, evokes a deep sense of nostalgia – and King often paints with different shades of the same color to maintain a harmonious balance in his paintings. This contrast is subtle but crucial, as it adds depth and interest while preserving the overall unity of each piece’s color scheme.

“As I come into more of my own artistry, I feel like I don’t have to make a piece necessarily for a particular audience to seek. It’s my style, and my color,” he says. “What I choose to paint is going to draw in potential buyers, so it’s going to be painting from my heart.”

King first started drawing and painting at the age of four, but he started to paint more seriously during the COVID-19 pandemic. King credits the lockdowns, and the “slowness of time” for allowing him the opportunity to commit to painting. During this difficult period, he thought about the legacy he wanted to leave behind, which only fueled his passions.

“You had time to actually build relationships…” he explains.” [The pandemic] helped guide me to focus on stuff.”

With the terror of the pandemic mostly gone and “normal” life returning, King has realized that he doesn’t have as much energy as he did four years ago. King works full-time in addition to his surging painting career, as he is uncertain if he can sustain himself and his family off his art alone. He hopes, however, to get to that point soon.

King has also picked up drawing again, to improve upon his artistic skillsets. In the future, he plans to experiment with other materials such as pastels and oil, and compares the exploration of different mediums to basketball.

“It’s like a jump shot,” he says. “The more you practice it, the better you’ll get at it.”

The Role of Community

King has lived in various places all over the Seattle area, such as Central District, Tacoma, and Federal Way. He is now based in Puyallup, about an hour south of the city. King’s paintings are usually taken from his experiences during his adolescence, but he has plans to make paintings revolving around his young and adult life. King’s love of basketball, jazz, hip-hop, and church also help form a huge part of his subject matter, showcasing his appreciation for everything that is Black.

“Being recognized in the culture has always been my intent, with every piece I create…” he says. “My art is created for African-Americans, and whoever loves the culture.”

Through King’s paintings, he proves that Black culture is a crucial foundation of American history. He plans to implement historical figures in his future work and spread awareness of Black contributions, including that of authors such as W.E.B. Du Bois, Booker T. Washington, and Richard Wright, who wrote one of his favorite novels, Native Son.

“There are so many different versions of Native Son [book covers]. There’s this one with some African inspired art on the cover with the face, which I kinda paint like that,” King explains.” If you look at some of my paintings, it’s like a Picasso-type style with different shapes, solid colors, and everything. My paintings intuitively came from remembering that cover of Native Son.”

King’s paintings have even caught the attention of JET Magazine owner, Daylon Goff. His tribute painting of Aretha Franklin captures the spirit of her essence, while his incorporation of block lettering and JET‘s signature logo add additional context to the piece.

King has Franklin standing tall and proud over a series of geometric shapes, signaling the heights that Franklin was able to reach in her career. The color wheel on Franklin’s body is used as a costume; dark blues possess hints of strength and boldness, while light blues hold cozy feelings of warmth and invitation.

King’s growing repertoire includes his involvement in the Seattle Black Renaissance Artists (“The SEABRAs”), a collective whose other members include Charde’ Brown, Myron Curry, Yolanda Galery, Vincent Keele, and T.R. Miles. The collective often meets virtually and collaborates on projects such as murals or art exhibits, including a recent showcase at the Columbia City Gallery. “The exhibit, organized by T.R. Miles, is the launch of the SEABRA collective group whose objectives are to promote ‘Blacknificent’ modern art to help Seattle become an art destination,” the Columbia City Gallery describes.

The Seattle Black Renaissance Artists exhibit dazzles with its rich array of paintings; each of them is a special window into the multifaceted world of the Black experience. The gallery beams with volcanic energy as bold, thick heavy brushstrokes dance across canvases, weaving together individual narratives into a harmonious celebration of artistry. Each artist’s work is a testament to their passion, blending seamlessly with the others to create a dynamic, immersive experience that breathes life into their stories and traditions of Black heritage. Visitors will be enveloped in a kaleidoscope of colors and textures, with each piece resonating with a powerful, collective voice.

King’s paintings hold their own among the work of the other artists in the collective, and he has been experiencing tremendous growth since he picked up his brush again during the pandemic. King honors the legacy of Black icons who catapulted into the global sphere to prove to the world that his community comprises much more than negative stereotypes.