MELINDA GIBSON was born 1985 in the UK, and currently lives and works in London. She studied for a BA (Hons) in Photography at the London College of Communication and is a Lecturer in Photography at Camberwell College of Arts. Melinda was nominated for the Meijburg Art Commission in 2015, Foam Paul Huf Award in 2015 and 2014, selected as 1 of the Jury members for the Unseen Dummy Award 2013, and winner of the Foam Talent Call and Magenta Foundation Award in 2010.

Gibson exhibits and is published internationally, selected shows include; The Smoke House Performance, Tate Modern, Turbine Hall, WOW Festival, Southbank Centre, Her First Meteorite and Rien Que Pour Vos Yeux/ For Your Eyes Only at Rose Gallery in Santa Monica, Beijing Silvermine at Galerie Paris Beijing, The Constructed View: UK Photography Now at Dong Gang Museum of Photography, South Korea, Houston Centre of Photography, Centro del arte Contemporáneo de Cadiz Spain, Perth Institute of Contemporary Art, ACP in Sydney, Flowers Gallery, Quad Gallery as well as exhibitions in Pittsburg, Hamburg, Turku Finland and Amsterdam. Selected publications include, Nowness, AnOther Magazine, BJP, Objektiv, MB! By Mercedes Benz, Foam Magazine, Harpers Bazaar, AOP, Independent, The Photographer’s Playbook by Aperture, and Magenta Foundations 10th Anniversary Top 100 UK Photographers. Forthcoming publications include, Aperture’s new title SPBH – A DIY Manual and Beg, Steal, Borrow edited by Robert Shaw.

Melinda has published three titles, The Photograph As Contemporary Art, Miss Titus Becomes A Regular Army Mac and 13213 -SPBH Photo Book Club Volume VI. Her first and third titles were awarded Best Books of 2012 & 2014 by Photo-Eye. Gibson’s publications are held in collections at The National Art Library in the V&A Museum, Pier 24, Foam Photography Museum as well as numerous Private Collections worldwide and the Louis Vuitton New Bond Street private apartment in London exclusively represent the Special Editions.

Melinda Gibson’s primary interests lie within the shifting boundaries of the photographic medium and how imagery is received and understood within its contextual surroundings. Using experimental techniques, she explores, examines and questions existing theories and codes of practice, pushing the boundaries of what really constitutes ‘seeing.’

Gibson’s practice has evolved to include collaborative projects, latest projects include Lunar Caustic, a project, two years in the making, working with the photography collector Thomas Sauvin and his archive of found Chinese imagery.