A Tandem Dance of the Seen and Imagined

When I encountered the exhibition Abigail Dudley and Elise Siegel: Painting and Sculpture at Steven Harvey Fine Art Projects, I was reminded of the words of the French poet Comte de Lautréamont, who famously described beauty as “beautiful as a chance encounter on a dissecting table of a sewing machine and an umbrella.” Thankfully, I avoided reading the press release before my visit, which states that this exhibition marks the first collaboration between Dudley and Siegel and mentions that “their practices are in close conversation.” Their artwork, however, transcends such a description.

Initially, I approached the exhibition expecting to see two individual artists showcasing their work within a confined space. My primary interest was in Dudley, whose paintings I have closely followed since first encountering her piece during the 2023 Miami University Young Painters Competition, where I served as a juror. However, seeing Siegel’s ceramic busts for the first time proved to be an invigorating surprise.

Dudley is recognized for her observational painting style. Over the last three years, she has developed a remarkable ability to blur the lines between the real and the imagined, creating a fluid environment where the proximity of the tangible and the dream-like can coexist. I am unsure if Henri Matisse’s “The Red Studio” (1911) serves as an inspiration for her, but her recent works, including “Farmer’s Market Bouquet,” “Four Faces,” and “Studio in Spring,” seem to echo this sentiment.

In “Farmer’s Market Bouquet,” Dudley cleverly utilizes the painting’s rectangular layout to create an impression of depth while presenting six varying four-sided shapes that challenge the perception of the painting’s flat surface. A large square resides in the lower left corner, with a bouquet of vibrant flowers depicted against a pink and yellow background. This interplay between the shadow of the jar and the two-dimensional depiction of the flowers invites us to question whether we are witnessing a still-life or a painting of one—or perhaps a blend of both. The relationship is further complicated by the shadow cast by the wooden floor on a blue rug beneath the composition.

In her works “Farmer’s Market Bouquet,” “Four Faces,” and “Studio in Spring,” Dudley showcases her ability to reimagine the dynamics of a room’s box-like structure in relation to the canvas’s flatness. While her affection for depicting various objects—such as dirty paintbrushes, cans, plaster casts, and flowers—is evident, her main drive lies in exploring diverse formal possibilities rooted in an intrinsic logic. This ambition, combined with her deep appreciation of art history, restlessness, and skilled brushwork, positions her as a potential transformative figure in contemporary art, capable of turning traditional education into something remarkable.

It wasn’t until I began writing this review that I considered any links between Dudley and Siegel. The most apparent connections relate to their commitment to traditional materials, with Dudley focusing on oil paints and Siegel with clay. Both artists embrace subjects often considered outdated or old-fashioned, which they explore with sincerity.

Siegel’s works feature ceramic busts placed on shelves or simple wooden pedestals, often in a singular color—blue being predominant throughout the exhibition. The busts, whose gender is ambiguous, present intimate proportions: the tallest measuring approximately two feet, while the smallest is just six inches tall. The short hair resembles a bonnet or a leather helmet, directing focus toward the facial features, including the eyes, nose, and mouth. The matte glazes lend these heads a quality resembling flesh rather than ceramic, enhanced by her meticulous attention to detail and varying glaze viscosities.

The eyes are formed as holes or shallow indentations, making the busts look unrealistic yet paradoxically personal, with each one hinting at its narrative. Their emotional resonance stems from a profound silence and an underlying melancholia. For instance, “Baby Blue Portrait Bust with Square Eyes” (2018) possesses square openings for eyes, with a head that stands straight, exuding pride and elegance. The blue rivulets cascading down its chest create an illusion of bleeding or disintegration—or both.

One of Siegel’s works, “Portrait Bust with Lavender Hair and Black Base” (2015), is armless, flaunting a white glaze reminiscent of frosting, which is complemented by a triangular shape descending from the neck. This interplay between the black matte glaze and the white triangle creates a harmonic tension that pulls viewers in, inviting contemplation and self-examination.

Factoring in Siegel’s work yields a sense of brokenness and silence—her busts become mirrors reflecting our own fragmented lives. They evoke emotions such as sorrow, incomprehension, and resilience. I was unfamiliar with Siegel’s artistry before my visit, but it has now earned a place in my ongoing attention. Both artists exemplify tenderness and respect towards their subjects, portraying that which remains intimate and private.

Abigail Dudley and Elise Siegel: Painting and Sculpture will be on view at Steven Harvey Fine Art Projects (208 Forsyth Street, Lower East Side, Manhattan) until October 15. This exhibition is organized by the gallery.