Often extracting fragments of speech or text from various political and cultural sources, McClelland's work consistently examines the permeable membrane that separates public and personal life and explores the symbolic and material possibilities that reside within language.

McClelland is represented by Team Gallery in New York and Shane Campbell gallery in Chicago. Her work has been exhibited in The Whitney Museum 2014 and 1993 Biennials, The New Museum, The Fisher Landau Center, The Museum at University at Albany SUNY, The Fralin Museum of Art at University of Virginia, The Orlando Museum of Art among many others. Her work is in the collections of the MOMA, The Walker, The Metropolitan Museum of Art, The Whitney Museum, Saatchi and other public and private collections. Texts on the artists work include those written by Nancy Princenthal, Faye Hirsch, TJ Carlin, Quinn Latimer, Barry Schwabsky, Raphael Rubenstein, Jerry Saltz and Robert Smith among others. Collaborations with poets are a regular part of her practice.

Forthcoming Solo exhibition curated by Amy Smith Stewart at the Aldrich Museum of Art fall of 2016; a group show organized by Michael St. John at Basilica Hudson in upstate NY, and "Champagne Life" with the Saatchi Gallery in London. A book will be completed in 2016, published with Team Gallery, including essays by Christopher Stackhouse and Thierry de Duve. She lives and works in Brooklyn.

Faculty positions include School of Visual Arts Fine Arts MFA program, Skowhegan School of Art and many other visiting artist positions over the years.

Among McClelland's most recent bodies of work are the Ideal Proportions and Call with 澳门金沙投注_任你博-官网 series, both of which incorporate groups of seemingly neutral statistics onto the surfaces of the artist's gestural abstractions. While Ideal Proportions features the physical dimensions of a group of body builders at the time they featured in the iconic documentary Pumping Iron, Call with 澳门金沙投注_任你博-官网 references information taken directly from the wanted posters of the seven fugitives currently listed on the FBI's most wanted domestic terrorist list. Each canvas becomes, by virtue of its direct relationship to an individual, both an intimately personal portrait of its subject at a specific time as well as an index for change and loss.