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Work Samples

Stay Loyal.

Stay Loyal.
Stay Loyal. / 2017 / 35"x47" / Acrylic, charcoal, digital print, ink, and oil on wood panel

Intersection

Intersection
Intersection / 2018 / 24"x20" / Acrylic, charcoal, digital print, and ink on wood panel

How High.

How High.
How High. / 2018 / 24"x24" / Acrylic, charcoal, digital print, ink, and oil on wood panel

Washington Boulevard

Washington Boulevard
Washington Boulevard / 2019 / 35"x52" / Acrylic, charcoal, digital print, and graphite on wood panel

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About McKinley

Baltimore City

McKinley Wallace's picture
McKinley Wallace III is a mixed-media painter whose art depicts strength expounded by the oppressed and an educator dedicated to cultivating people-oriented environments that foster inclusive community building and high-quality learning. His studio work has obtained both local and national attention, including solo exhibitions at MICA, Jubilee Arts, Baltimore Polytechnic Institute, Creative Alliance, and Gallery CA as well as group shows at Eubie Blake National Jazz Institute and Cultural Center,... more

Under Blue (2018 – )

Within recent years, intent has never been more scrutinized. White rage and its propaganda have slowly evolved into a nuanced being. Its legacy and influence encompass charged spaces and place shrouds over racial beings — possessing minds that lack the conviction or knowledge to question, agitate, and resist the oppression of Black people. Since 1619, White rage continues to chain, lie to, poison, steal from, kill, and commodify dark people in America.

Privilege is a weapon.

I aim to create illustrative mixed media paintings of people caught within, and absent from, real, site-specific places in distress. I also place individuals in and out of hard-edged black and white zones with occasional vignettes, all used as a metaphor for segregation, defiance, and loss. My work embodies a unique strength expounded by the oppressed. A power manifested in resilient peoples, determined to resist erasure and break free of master narratives. I, of a dark hue, intend to transcend powerlessness by framing explicit depictions of the humanity deprived of bodies and faces, demanding liberation from the elite in Baltimore City and beyond.

I have no choice but to find purpose in the struggle to exist. Born in a young nation of colonized lands, I, as a Black man, am disposable to many. My creations are analytic tools to measure and amplify America's crippling and exploitative nature at the intersection of race, gender, and class. Inspired by Dr. Bettina L. Love, I identify as an abolitionist teacher, committed to guiding and fighting with co-conspirators of intersectionality, and Black freedom. I hope that, under the same blue sky, sometimes grey, all suppressed identities will one day thrive. In my work, strengthened by my role as a Black educator, I capture moments of atmospheric and direct tension, introspection, and rebellion to rattle America's exclusionary ideals and legacies – choices enacted by the impact of deferring Black joy for centuries.

  • Elizabeth in Little Rock

    Elizabeth in Little Rock
    2019 / 24"x24" / Acrylic, black gesso, charcoal, digital print, graphite, and ink on wood panel
  • Home of the Brave

    Home of the Brave
    2019 / 24"x20" / Acrylic, charcoal, digital print, and ink on wood panel – This piece is called "Home of the Brave." Working on this painting troubled me in a way because I wish it were not an accurate picture of my country. A young country grounded in a challenging history, rooted in blood and courage, yet suspended in covert ties to racism. While walking through a neighborhood in southwest Baltimore, midday, alone, I stumbled across a home with a flag hybridizing stars and stripes with stars and bars.
  • Uniform.

    Uniform.
    2018 / 24"x30" / Acrylic, charcoal, digital print, and ink on wood Panel
  • Emmett 1955

    Emmett
    2019 / 24"x24" / Acrylic, charcoal, digital print, graphite and ink on wood panel
  • I've Been to the Mountaintop #1 (I AM A MAN! 1968)

    I've Been to the Mountaintop #1
    2019 / 36"x24" / Acrylic, black gesso, charcoal, digital print, graphite, and ink on wood panel
  • Primaries

    Primaries
    2019 / 24"x20" / Acrylic, charcoal, digital print, graphite, and ink on wood panel
  • Washington Boulevard

    Washington Boulevard
    2019 / 35"x52" / Acrylic, charcoal, print, and graphite on wood panel
  • Rise.

    Rise.
    2018 / 24"x36" / Acrylic, charcoal, digital print, ink, and oil on wood Panel
  • Stereoscope #1

    Stereoscope #1
    2018 / 18"x18" / Acrylic, charcoal, and ink on wood Panel
  • Stereoscope #3

    Stereoscope #3
    2019 / 20"x24" / Acrylic, charcoal, digital print, graphite, and ink on wood panel

Respond. (2017 – )

Within recent years, intent has never been more scrutinized. White rage and its propaganda have slowly evolved into a nuanced being. Its legacy and influence encompass charged spaces and place shrouds over racial beings — possessing minds that lack the conviction or knowledge to question, agitate, and resist the oppression of Black people. Since 1619, White rage continues to chain, lie to, poison, steal from, kill, and commodify dark people in America.

Privilege is a weapon.

I aim to create illustrative mixed media paintings of people caught within, and absent from, real, site-specific places in distress. I also place individuals in and out of hard-edged black and white zones with occasional vignettes, all used as a metaphor for segregation, defiance, and loss. My work embodies a unique strength expounded by the oppressed. A power manifested in resilient peoples, determined to resist erasure and break free of master narratives. I, of a dark hue, intend to transcend powerlessness by framing explicit depictions of the humanity deprived of bodies and faces, demanding liberation from the elite in Baltimore City and beyond.

I have no choice but to find purpose in the struggle to exist. Born in a young nation of colonized lands, I, as a Black man, am disposable to many. My creations are analytic tools to measure and amplify America's crippling and exploitative nature at the intersection of race, gender, and class. Inspired by Dr. Bettina L. Love, I identify as an abolitionist teacher, committed to guiding and fighting with co-conspirators of intersectionality, and Black freedom. I hope that, under the same blue sky, sometimes grey, all suppressed identities will one day thrive. In my work, strengthened by my role as a Black educator, I capture moments of atmospheric and direct tension, introspection, and rebellion to rattle America's exclusionary ideals and legacies – choices enacted by the impact of deferring Black joy for centuries.

  • Leave Her.

    Leave Her.
    2018 / 24"x36" / Acrylic, charcoal, digital print, ink, and oil on wood panel
  • How High.

    How High.
    2018 / 24"x24" / Acrylic, charcoal, digital print, ink and oil on wood panel
  • Beware

    Beware
    2018 / 20"x16" / Acrylic, charcoal, digital print, and ink on wood panel
  • Stay Loyal.

    Stay Loyal.
    2017 / 35"x47" / Acrylic, charcoal, digital print, ink, and oil on wood panel
  • Remain Silent.

    Remain Silent.
    2017 / 35"x38" / Acrylic, charcoal, digital print, ink, oil on canvas
  • Tolley Park #2

    Tolley Park #2
    2019 / 20"x24" / Acrylic, charcoal, and ink on wood panel
  • Tolley Park #1

    Tolley Park #1
    2019 / 24"x20" / Acrylic, charcoal, digital print, and ink on wood panel

Between Us (2017)

On January 29th, 2016, a fifteen-year-old African American male named Darius Montray Bardney was tragically murdered in at housing complex in West Baltimore called Pedestal Gardens.

The property’s management team, Community Builders, Inc., commissioned “Between Us” to celebrate the life of Darius, embolden the youth of Pedestal Gardens, and help resolve any contention that transpired after the incident.

Buried (2015 – 2016)

We can never truly define ourselves, but we try to make peace with that knowledge by using our body and possessions to project a temporary character. It is in our nature to identify others for self-assessment. While looking at each nameless individual, I ask myself, “Do I relate to what I am seeing, or do I feel excluded?”

Our primal need to identify has been corrupted by prejudices. Is there value beyond the signifiers? Has being judged by others made us violent and vulnerable creatures?

Inheritance led us to obscurity, pessimistic recesses of the Earth with deafening winds, putrid soil, and blistering fire.

My mission, as an archaeologist, is to uncover the forgotten pieces of us that remain and address humanity’s aggression.

  • Peeling Supremacy

    Peeling Supremacy
    2016 / 12”x 10.5” / Acrylic, canvas, charcoal, ink, and oil on wood
  • After Ecstasy

    After Ecstasy
    2015 / 20.25" x 16.37" / Acrylic, Charcoal, Conte Crayon, Digital Print, Ink, and Oil on canvas on wood panel
  • Last Memory

    Last Memory
    2016 / 13”x 11.75” / Acrylic, canvas, charcoal, digital print, ink, and oil on wood
  • Here and After

    2015 / 18" x 18" / Acrylic, charcoal, Conte crayon, digital print, ink, and oil on canvas on wood panel
  • Her Scars

    Her Scars
    2016 / 11”x 34” / Acrylic, charcoal, Conte crayon, ink, and oil on canvas on wood panel

Stolen Faces (2015)

We can never truly define ourselves, but we try to make peace with that knowledge by using our body and possessions to project a temporary character. It is in our nature to identify others for self-assessment. While looking at each nameless individual, I ask myself, “Do I relate to what I am seeing, or do I feel excluded?”

Our primal need to identify has been corrupted by prejudices. Is there value beyond the signifiers? Has being judged by others made us violent and vulnerable creatures?

Inheritance led us to obscurity, pessimistic recesses of the Earth with deafening winds, putrid soil, and blistering fire.

My mission, as an archaeologist, is to uncover the forgotten pieces of us that remain and address humanity’s aggression.

  • Geisha 芸者

    Geisha 芸者
    2015 / 20" x 20" / Charcoal, digital print, and ink on canvas
  • Eve

    Eve
    2015 / 12.5" x 11" / Acrylic, charcoal, digital print, and ink on wood panel
  • Me and I

    Me and I
    2015 / 14" x 17"/ Charcoal, digital print, ink, and on canvas
  • Barbara

    Barbara
    2015 / 14" x 17" / Charcoal, digital print, and ink, on canvas
  • Memory Be Green

    Memory Be Green
    2015 / 13.3" x 18.2" / Charcoal, digital print, and Ink on canvas on wood panel
  • Gone

    Gone
    2015 / 47" x 35" / Charcoal, digital print, and ink on canvas on wood panel

McKinley's Curated Collection

This artist has not yet created a curated collection.