Language of the Mask A portfolio by McKinley Brown

Growing up as one of the only Black students in a predominantly white school district, I learned early on how to wear masks—figurative ones. I became fluent in code-switching, in shrinking parts of myself to fit in classrooms and conversations that weren’t built for me. That tension between visibility and invisibility, between performing and belonging, is what I explore through my ceramic masks.

Each mask I create is a sculptural response to the roles I was expected to play. Some are bold and loud, others are cracked and broken—intentionally. They reflect moments where I felt the need to conceal, adapt, or fragment my identity just to be heard or seen. But they also speak to resilience: the quiet power of reclaiming expression on your terms.

My work is deeply influenced by traditional African masks—not just their visual language, but their purpose. In many African cultures, masks are not just decoration; they’re vessels for spirit, community, and storytelling. I carry that legacy with me. Through my masks, I’m not only honoring my ancestry—I’m using clay to bridge the distance between past and present, performance and authenticity, survival and truth.

In this body of work, I’m not just sculpting faces—I’m unmasking memory. I’m giving form to emotions I once had to swallow in silence. And in doing so, I hope to create space for others who’ve also had to learn how to survive by pretending.