Originally from Canada, Melanie Daniel immigrated to Israel in 1995, and her paintings contain elements of both the militaristic and anxiety-inducing environment of Israel and the tree-dense historically charged landscape of her native Canada. In her current series, languorous hallucinatory scenes of earnest homesteaders and DIY aficionados contain a latent unease, their projects a mere ritual against impending disaster. Nature is marked by graffiti, writing on the wall marring otherwise idyllic landscapes. Influenced by the idiosyncratic narratives of Peter Doig, the impending doom found in Daniel Richter's work, and arch-Canadian painters such as Tom Thompson, Daniel's work poignantly captures the pervading duality of a disillusioned post-9-11 generation, rife with both utopian and dystopian narratives.

After studies in Canada, Melanie Daniel completed her BFA and MFA at Bezalel Academy, Israel. Daniel has had numerous exhibitions in Israel and abroad, including solo exhibitions at the Tel Aviv Museum of Art, Israel, Chelouche Gallery, Tel Aviv, Ashod Museum of Art, Israel, Shulamit Gallery, Los Angeles, Kelowna Art Gallery, BC, and Noga Gallery of Contemporary Art, Tel Aviv, among others. Her work is included in collections such as the Tel Aviv Museum of Art, Harvard Business School, and the Brandes Family Art Collection. She has received press in publications such as Maake Magazine, Artnet, Newsweek, Frieze, Haaretz, CBC/Radio Canada, The Huffington Post, Beautiful Decay, and the Artists Magazine. Daniel is the recipient of a Pollock-Krasner Foundation Grant, a New York Foundation for the Arts Grant, the 2009 Rappaport Prize for a Young Israeli Painter, a Creative Capital Grant, and the NARS Foundation Residency in New York City. She is currently the Padnos Distinguished Artist-in-Residence at Grand Valley State University, MI.