The core of Judith Seligson's work is a vast series of geometric, abstract, hard-edged oil paintings, some very small, others enormous. Each painting begins with a graphite drawing defining the blocks of color. The artist then applies layers of diluted gesso, so she can see the push and pull of the shapes, while preventing the graphite from mixing with the paint. Ms. Seligson follows Matisse’s dictum that painting begins when the artist sees both the positive shape—the vase, for example, and simultaneously the negative shape, the shape around the vase. Thus, she does not use tape or straight edge while painting. Her work also extends to collage, graphite drawings, visual intertextuality, multi-media, videos, published articles, and pigment prints.
Seligson’s solo shows include The Athenaeum, Washington, D.C., Jane Haslem Gallery, Washington, DC, Anita Friedman Fine Arts, New York, and the Schlesinger Library at Radcliffe. She was recently one of four contemporary geo-abstract painters at the Art 3 Gallery in Brooklyn. Group shows include Lillian Heidenberg Fine Art and Gary Snyder Fine Art, both in New York. The artist has collaborated on a number of site- specific works with her husband, architect Allan Greenberg.
Seligson’s forthcoming book, THE GAP: The Synaptic Sign of Modernity, is a 20-year project focusing on the space between things in art, science, and literature. She has given academic talks about The Gap paradigm at the Fourth International Henry James Society Conference, the American Literature Association Annual Meeting, and the 41st Annual Louisville Conference on Literature & Culture Since 1900. Her articles have been published in The Henry James Review, Judaism: A Quarterly Journal of Jewish Life, and The Radcliffe Quarterly.
Please visit the artist's website to learn more.