Rapid ascension of Danielle Mckinney from Instagram sensation to acclaimed figure in the art world.
In the unadorned comfort of solitary spaces, Danielle Mckinney's muses find peace. They lounge, they slumber, some even indulge in the humble smoke, the ambiance softening their gazes. This forty-four-year-old artist has painted these women throughout her life. From a little girl capturing little girls, her subjects have matured, reflecting her own journey.
In casual chats, Mckinney affectionately refers to her ladies, a collection of whimsical portraits that whisper tales of solitude and repose. For years, these works remained hidden gems, a private passion by an artist trained as a photographer. Mckinney dabbled in painting only as a hobby, never dreaming it would find a public audience.
Fast forward a little over four years, Mckinney is now one of the art world's buzzing sensations. Her paintings adorn the walls of high-end galleries, fetching thousands, and have even graced the hallowed halls of Dior. Her upcoming exhibition at the TEFAF Maastricht art fair in the Netherlands will see her pay tribute to the legendary American realist, Edward Hopper.
Initially, Mckinney's sudden fame brought tremors of panic. Now, she's learned to navigate the choppy waters of success, drawing strength from her insatiable curiosity. She often finds herself pondering, "If I hadn't achieved all this, would I still be in my studio attempting to paint these ladies?" And her answer is an emphatic yes.
The Pandemic's Unforeseen Influence
Photography had always been Mckinney's first love. She learned to wield a camera like a trusted companion, capturing the intricate interplay between humans and their gestures. Before the pandemic, she was a wedding photographer, a street photographer, always seeking to unravel the enigma of human connection and personal space.
But the pandemic changed everything - humanity retreated, masks became shields, and touch became taboo. The world Mckinney knew and loved was no more. Her photography, which relied so heavily on social interaction, seemed to lose its purpose. Driven by desperation and a need to connect with her art, Mckinney retreated to her New Jersey attic, her tools of choice - canvases and paintbrushes.
Her obsession with painting grew, and she became a slave to her creative urge, her mind unshackled from the constraints of censorship and fear. She shared her work on Instagram with a naive, hopeful heart, her only goal to spread joy and share her passion, no matter how ordinary she thought it was.
The Rebirth of a Medium
Mckinney's ladies continue to dominate her paintings. Each portrait is set within dimly-lit interiors, a stark contrast to reality. Minutiae, like vintage-style furniture and lamps, pepper the background. Sometimes the ladies lie in repose, sometimes they indulge in dreams, framed by famous paintings by artists like Picasso and Matisse.
Her work begins as a collage - a homage to her childhood passion. She sources images of women and interiors that resonate with her, merging them seamlessly on the canvas. For Mckinney, the creative process is a therapeutic journey, a means to soothe her restless mind.
Each painting is a unique puzzle, a testament to her unbridled imagination. Sometimes, the pieces don't fit, and she has to start anew. But Mckinney's perseverance and unwavering commitment to her art easily overcome these fleeting moments of frustration.
The Indoor Chronicles of a Lady
Mckinney's ladies have always found solace indoors, perhaps a reflection of her own introverted nature. She prefers the intimacy of her studio to the bustling world outside, and her work captures that essence beautifully. Her ladys' quiet, contemplative moments have resonated with many, especially Black women, who find solace in seeing themselves in such a tranquil setting.
As lockdowns slowly lift, Mckinney's work still remains an ode to inward reflection. Every lady is naked, unapologetic in their vulnerability. They are Black, women whose presence in art has been historically underrepresented. They are a testament to the strength and resilience of Black women, seen in their moments of rest and repose.
Mckinney's latest project draws inspiration from Edward Hopper, the celebrated American realist. His looming shadows and moody interiors have been woven seamlessly into her work, resulting in a collection that pays homage to an iconic artist while retaining her signature style. The transformation in her work is evident, her brushstrokes now looser, her palette bolder.
But her heart remains with the ladies – they continue to be her muses, her driving force. Each painting is a labor of love, a piece of her innermost self that she pours onto the canvas with an unflinching honesty. And with every sale, a part of her heart walks away, leaving her both elated and pensive.
Mckinney's new works will be on display at Marianne Boesky Gallery's booth at the TEFAF Maastricht fair March 15-20.
After experiencing a shift in her photography due to the pandemic, Mckinney embraced painting with headphones playing, immersing herself in the creative process. In 2025, she will showcase her Edward Hopper-inspired paintings at the TEFAF Maastricht art fair, featuring her signature style of whimsical portraits and dimly-lit interiors. Despite her success, Danielle Mckinney still finds solace in her New Jersey attic, painting her muses to soothe her mind and share joy with the world.
