Kathran Siegel
I was schooled in non-objective painting at Bennington College, where Clement Greenberg’s Purist aesthetic was manifest. I made an abrupt shift into sculpture and nontraditional woodworking in the late 1970’s.

Along with me, came my love for color, paint and Design. I have also held onto my process of working out visual ideas in Series. I have yet to feel that I have exhausted an idea. At some point I move on, inventing a new vocabulary of forms, shapes, surface treatment, use, materials, reference, or any or all of these.

Some Gallery works remain available. Furniture in a series marked “Open,” may be ordered. Please e-mail to kathran.siegel@gmail.com if you wish to inquire about a work you see in these sections.
This newest direction began with Dolls; carved to mimic actual cloth bodied dolls, each telling a particular personal story. Dolls evolved into a Henry Darger inspired series of free-associative blengins, combined with elements from his sexually mixed prepubescent and sometimes winged girls. My own pull has been towards an exploration of the older, often past-her-prime, transgressively seductive female. I have recently begun to refer to my figures from this series and onward, as FlowerGirls. Each girl is carved out of wood, assembled and then painted.

Forms of marine life that I found on walks along the shore in FL, where I was living in the 1980’s and 90’s, inspired my earliest works in wood. I have always loved the natural world and the many creatures inhabiting it.

These works integrate the furniture I design with objects carved to represent things that might be found alongside them in a real life situation. There is a loose narrative, but nothing more. One-of-a-kind.

Here my vocabulary has been enlarged to introduce a range of materials beyond wood and paint. Color is limited to the same 4 throughout this series, along with the irregular marks drawn freehand from a soft graphite pencil. Open Series.

My earliest ventures into furniture design came directly from the Florida landscape. I was intrigued by the way that an element representing a plant or an animal could also be made to function as a weight bearing element in a chair or table. I was further intrigued by what I saw to be the finished work’s similarity to narrative painting and sculpture, now altered by the simple addition of function.

Childhood visits to M.O.M.A. in N.Y.C., were spent in rooms filled with Matisse paintings and cutouts. These made their way into my Being. I have used elements out of Matisse’s vocabulary to build this series.

I started the year off still interested in “Creature,” in “Still Life” and to some extent, in “Postmodern” furniture. Looking for another direction, I combined old formal vocabularies to design two door panels, fitting them into existing recesses in my front door. This led to a series of relief sculptures moving into the new year. I have used elements out of Matisse’s vocabulary to build this series.
One More Time

Carving the spruce tree led me to think about nests. It was springtime when I finished and the birds had returned. My nests were made of carved panels sewn together with wire to create an enclosure. I became interested in the power of each panel seen as a stand alone sculpture. The natural world had found its way back into my work.
One More Time

As a series, each of these works is inspired by nature: flowers, vines, pods, water, recesses and surfaces.
One More Time