1975 · United States
Breaking down the boundaries between painting and photography in her dynamic body of work, American artist Melanie Willhide encourages her audience to question the role of imagery particularly as it relates to the history of women.
Integrating both digital and analog methods into her work, Willhide follows a collaging process that pulls together various threads of images to create novel – if not distorted – patterns or rhythms in her works. As part of the inherent critique in her work, Willhide incorporates in her work likeness taken from popular culture to foster contemplation on the dissonances between manipulation and authenticity. This approach is made all the more relevant in this modern era, where digital technologies allow images to be transformed however the manipulator sees fit. Willhide raises this point eloquently in her work as she aims to conjure an almost unreal feel in her work.
Willhide was born in Connecticut in 1975 and completed her BFA at the Rhode Island School of Design. She later pursued her MFA in Photography at the Yale University School of Art. Her work has been included in numerous exhibitions over the past twenty years, and it has also been featured in several noteworthy publications including The New York Times and Blind Spot. Willhide’s work is also part of the permanent collection in notable museum collections, such as the Los Angeles County Museum of Art, Yale University’s Davenport Collection, and the Eastman Museum.