After the 2016 election, McClelland began collecting data from “top ten” lists— rankings based on the highest recorded salaries of America’s celebrities, world leaders, musicians, and technology pioneers. She was attracted to the disconnect between a person’s image, how we think of celebrity figures through the information we receive of them and what they symbolize in society, and the physical reality of that person in space. Counted among the Net Worth paintings are Forbes Five Hip-Hop’s Wealthiest Artists: P.Diddy, Birdman, Dr. Dre, Drake and Jay-Z. The artist has subsequently executed paintings of the highest paid actors of 2015 (Robert Downey Jr., $80,000,000.00, and Jackie Chan, $50,000,000.00), and most recently world leaders (including Vladimir Putin, Rodrigo Duterte, and Kim Jong-Un). In the tradition of Gertrude Stein’s word portraits, forms in these paintings function as both representational and abstract, while the physical body is absent. The “face” of the paintings are conceptual portraits — mad splashes and strokes of paint, charcoal, oil, glitter — while the backs are legible collages of found imagery and numerical information culled from online sources, such as height, weight, date of birth, quantified descriptors of excessive incomes and physical traits. McClelland is bringing to the surface our collective desire to project importance onto each other, basing this projection on questionable and merely perceived power, power credited by rankings, letters, and currency (the absurd repetition of zeros and commas).