Danielle McKinney’s Art — Movement is Life

Last week, I posted my progress on this oil painting below on Substack it was really well received.

Exhale by Janet Asante Sullivan, Oil on Canvas 2024

Someone pointed out that it reminded them of Danielle McKinney’s work—yep! That’s exactly who inspired this piece.

I stumbled upon McKinney’s work earlier this year and was immediately drawn to her portrayals of women in solitude. As someone who deeply values time alone and inks in solo time weekly and annually, her art resonates with me on a personal level.

After diving deeper into her art practice, I’ve become even more enamored.

McKinney studied photography in college but began experimenting with painting during the pandemic. She discovered a knack for it and decided to pursue painting full-time.

One of her works even caught the attention of Beyoncé, who purchased a piece, which of course fueled even more interest in McKinney’s art. Her pieces are now fetching prices up to $200k.

Despite my best efforts, I couldn’t find an image of the painting Beyoncé bought. Very Beyoncé. Very discreet.

Danielle McKinney, After the Dance, 2023

McKinney’s work depict women in intimate settings, stripped of the facade, at ease, content, and unguarded. Many of them are shown smoking.

In a podcast interview, McKinney was asked about this recurring smoking theme. I loved her response. She explained that the smoking isn’t about addiction but rather symbolizes “the deep exhale we all take that says, ‘I can be here now.’” I am in my own space.

Danielle McKinney, Hold Your Breath, 2024

In interviews, Danielle speaks about how her work is inspired by music. She shares a relatable story of how her mother’s home always felt safe and warm, with Sade and Anita Baker playing in the background. She imagines the women in her work resting and relaxing with Anita in the background. I can clearly see and hear the soundtrack in her work.

I’m also drawn to the simplicity of her paintings. She gives just enough information to convey the mood—a lamp, a dark room, a rug, a bed, or a couch. It’s all very minimal. Even the way the figure is sitting or lying down offers a subtle clue. On this, McKinney says, “You don’t have to say everything. You can be very loud by being quiet.”

Even the titles of pieces are short and sweet. I am heeding her advice as I title my own artwork. McKinney thinks that if you title your artwork in a way that explains everything, the audience might struggle to connect with it. She believes you should tell the audience something about the work but not everything so the audience can have space to enter the work as well.

This made me think of an art fair I attended a few weeks ago. I decided not to buy a piece of abstract art I had been admiring because the artist explained that it represented her childhood trauma and healing. While I empathized with her story and found the work beautiful, I started to see it differently and just couldn’t "enter" the piece, as McKinney had warned.

I tried to see one of McKinney’s works in person. My research showed that the Hirshhorn Museum in DC had acquired her piece Face Mask with Prayer. I trekked into the city (I live in the suburbs of the DC metro area) only to discover that the work wasn’t on display but was stored in the museum’s basement or wherever.

Danielle McKinney, Face Mask with a Prayer (acquired by Hirshhorn Museum in DC)

I was disappointed. I really want to see the work of all the artists I’m writing and researching about in person—to bear witness, stare and envy their brushstrokes.

Although the Hirshhorn did have an exhibit on Basquiat and Banksy, so I went ahead and spent time with their works. Not the McKinney vibe I was hoping to sit with but interesting nonetheless.