[1] Coming back to Canada, MacLeod attended Concordia University, in Montreal, Quebec, where she studied film before changing her major to visual arts.
[7] In recent work, MacLeod directs focus towards how popular culture has portrayed masculinity through the lens of modernist art history.
[11] MacLeod was part of Bounce, an exhibition showcasing three Vancouver-based emerging artists,[12] held at the Power Plant Contemporary Art Gallery in Toronto, Ontario.
[17] MacLeod's work was presented alongside Geoffrey Farmer, Brian Jungen, Euan Macdonald, Luane Martineau, Damian Moppett, Shannon Oksanen, and Kevin Schmidt.
[21] MacLeod's exhibition, A Brief Overview of Personology, was created for the Charles H. Scott Gallery in Vancouver, British Columbia,[22] and was curated by Cate Rimmer[23] A Brief Overview of Personology contained several works by MacLeod that were under the themes surrounding the use of self-help books, consumerism, and comedy, creating a dynamic setting of satire.
[25] Works by MacLeod include four silkscreen prints titled How To Make a Man Fall in Love With You (2000), a wood sculpture called One Week (2000), twelve ink drawings on vellum paper[26] based on film stills (2000),[27] and The Greeter (2000),[26] a video projection where MacLeod poses as a greeter that can be found in big box department stores.
The Tiny Kingdom is “intended to function as a place of reflection and solitude”,[30] and “foregrounds the anxious relations between art and society, country and city, colony and imperialist nation”.
The name of the exhibition alludes to JRR Tolkien's literary piece The Hobbit, and 1970s cultural references, including Led Zeppelin.
[9] Having been born in London, Ontario in 1961, MacLeod spent her “formative years” immersed in the “cool-culture” of rock and roll, muscle cars, and feathered hair.
[8] In Artist’s Choice Cock and Bull, the exhibition was reorganized from the traditional layout presented at Museum London,[41] to one that plays even more on the idea of “Sex, Drugs, and Rock and Roll”.
Presence, a small sculpture placed on a dolly[42] referencing an album by Led Zeppelin, creates a link between heavy metal music of the 1970s, and minimalism.
[43] Dragon, is a photomural on paper[44] paralleling MacLeod's Albert Walker, which is a sculptural installation piece that takes form as an entertainment center- furniture that one could find housing a television in a middle-class home.
[45] Through the use of three dimensional printing technologies, MacLeod alludes to the fact that the rarely found strain of marijuana known as ‘Albert Walker’ can only be “reproduced through cloning”.
[51] MacLeod touched on a more serious topic by including images of British Columbia born Dorothy Stratten, an actress and playboy model from the 1970s with a shocking and grim story.
[1] Exhibited at the Catriona Jeffries gallery in Vancouver, British Columbia in 2009, and in Myfanwy MacLeod, or There And Back Again in 2013 and 2014, Hex Series is a collection of hand painted signs based on patterns found in Dutch culture in Eastern Pennsylvania.
By recreating these symbols, and placing them in the unusual setting of an art exhibition, MacLeod creates a parallel meaning by showcasing them through a conceptual standpoint.
[5] Playtime is a site specific public art piece situated in Vancouver at the British Columbia (BC) Women's and Children's Hospital.
Using the idea of playground design as a starting point, MacLeod and Oksanen created five “modernist play” sculptures that are painted black and white, and are made out of glass fibre, and concrete.