Brian McDonald is a San Francisco-based collage artist whose work offers uncomplicated messaging within layers of painted typography and waggish characters. His use of color and overlapping iconography interweave themes of pop culture consumerism, absurdist thought-wave packets, and random-not-random streams of consciousness embedded inside playful encounter.
Meaning comes through layers: There is a sense of an immediacy of process that evolves into a thoughtful endeavor towards understanding a perpetually disruptive world of our own making. McDonald invites us along to help decipher the chaos of both subliminal and overt stimuli.
His formal education reveals a curiosity with words, having majored in language in college, studying French and Italian. While at UC Santa Cruz, he also discovered a passion for art history. A few years later, after moving to San Francisco, he took his first painting class at City College and was immediately hooked.
“My art education continued from there with two years at California College of the Arts, when it was still called CCAC,” McDonald said.
McDonald hails from Valencia, California, which he describes as being a quaint suburb of Los Angeles when he was growing up. He remarks how it has grown considerably since then and is now referred to as Santa Clarita, home to Magic Mountain and Cal Arts.
“While studying at UCSC, I realized that the Northern California vibe and weather suited me better. I knew I wanted to live in a big city and San Francisco seemed like the perfect choice. Now, 36 years later, I can confidently say that moving here was the best decision for me!” McDonald told 48hills.
He considers himself very fortunate to live in the Mission District of San Francisco, known for having the best weather in the city and situated within walking distance to a variety of interesting neighborhoods. And he relishes the diversity and the interconnectivity of the local art community.
“Plus, there are so many good taquerias in this neighborhood!” he added.
Defining his work as curiously playful and intriguing, McDonald cites Jean-Michel Basquiat as a significant early influence, an artist he feels effectively engaged the power and poetry of blending imagery with text. “I also draw inspiration from music, dreams, and cartoons, captivated by their layered structures and dynamic movements. I strive to capture a similar essence in my own creations,” he said.
McDonald works with acrylic paint, water-based crayons, ink, and paper collage, primarily on wood or paper. His practice encompasses two distinct bodies of work: figurative and text based.
“In my figurative pieces, I intertwine imagery and words to form a rich tapestry of narrative possibilities, exemplified by my piece, Modern Love, a humorous exploration of romance and pop culture,” he said.
Alternately, McDonald says his text-based work integrates wordplay, color, and pattern to establish a rhythmic flow that mirrors the dynamics of language in our everyday lives. An example of this is his work, Addicted to ‘D.’
“This piece employs alliteration in order to craft an elusive poetry drawn from words generated by a predictive search for the query reflected in its title,” McDonald said.
McDonald works from his apartment where he paints and assembles collages directly on his kitchen floor, rotating between several works at various stages of completion. His living room is filled with stacks of drawings, works in progress, and boxes of materials for mixed-media explorations. He admits to occasionally encountering challenges with specific pieces, unsure of how to advance or finish them.
“Some unresolved artworks have remained untouched for many years as I gradually discover what they wish to convey. While I acknowledge this as an integral part of my process, it often stirs feelings of anxiety and insecurity about my artistic journey,” he said.
However, he says he is currently focusing on disentangling himself from the resistance created by an overactive inner critic. He’s doing this by experimenting with various techniques and subject matter, including mark making, printmaking, abstraction, landscapes, cityscapes, and portraiture.
“My goal is to discover new ways of working that reignite the joy of authentic expression, free from the baggage of self-doubt,” McDonald said.
McDonald initially began creating art by painting in a style of realism. He says a pivotal moment came during a trip to the San Francisco MOMA, where he encountered Robert Rauschenberg’s mixed media piece, Collection, 1954/1955.
“At first, I was taken aback, feeling somewhat offended by its seemingly random layers of paint and collage, which I perceived as intentionally unappealing. This reaction sparked a shift in my practice as I returned home inspired and began experimenting with creating my own intentionally ‘ugly’ works, applying layers of paint and collage in a free, expressive manner. Though I’m not sure if I still have that original piece, it undeniably opened the door to a more dynamic exploration of materials in my work,” McDonald said.
Besides Rauschenberg, he mentions the more recent influence of discovering the adult animation series Xavier: Renegade Angel. McDonald says each episode not only blows his mind but has unveiled numerous parallels between the series and his own work. He elucidates by saying how both employ dense and intricate layering, blend diverse source materials to create a surreal or dream-like ambiguity, and present an absurdist and humorous undertone to spiritual inquiry.
“For example, my piece, Rainbow High, investigates the transformative potential of cannabis when used intentionally, highlighting its ability to open pathways to healing and deeper self-awareness,” McDonald said.
Looking back at the period of the pandemic and the challenges it posed, McDonald notes another turning point: the undeniability of his own mortality, brought to the forefront of his awareness.
“It highlighted the instability and impermanence of life, which, in turn, has deepened my appreciation for the time I dedicate to making art. This realization has infused my work with a sense of urgency and purpose, prompting me to honor each creative moment more fully,” he said.
In 2025, McDonald participated in several thematic group shows at Studio Gallery in San Francisco, including Noir in May, Delicious in June, and Flock in July. He is included in two new shows at the gallery, Artist’s Choice, from April 2 to 20 and this year’s exhibition of Delicious, which is scheduled for late May 2026. In addition, he will have work in the group show, Roadmap, at Arc Gallery & Studios in San Francisco from April 11 through May 9.
At this juncture in his life and career, McDonald says he is a bit surprised that he still holds value in many of the same interests he had when he was younger, including a love for nature, books, and, of course, making art.
“It’s gratifying to recognize this enduring thread in my life and work, allowing me to honor my younger self by embracing these early passions,” he said.
These interests are reflected in activities like gardening, hiking, scuba diving, traveling, and finding inspiration in movies, reading, and music. To stay grounded, he practices yoga and breath work. In the studio, McDonald aspires to creating work that sparks joy in those who experience it.
“It’s incredibly rewarding when viewers find humor in my pieces, leading to smiles or laughter. I aim to make art that unfolds gradually, inviting deeper engagement with its layers. My hope is that each viewing reveals something new, enriching the experience for the audience,” he said.
And from the depths of his own life experiences, as if creating one of his mixed-media works, Brian McDonald shares this simple yet profound reminder:
“Life is short. Fill your days with activities and people (and art!) that replenish your soul.”
For more information, visit his website at brianmcdonaldart.com and on Instagram.
