By Art Publishers
Steven Siegel, an American environmental artist born in White Plains, New York, in 1953, has forged a distinctive path in the realm of contemporary art. Renowned for his site-specific installations and public art commissions crafted from repurposed materials, Siegel’s creative journey is a testament to the intersection of innovation, ecological awareness, and a deep-rooted connection to the Earth. While Siegel’s accomplishments are undeniable, his approach remains grounded, allowing his artwork to eloquently convey the intricate relationship between human existence and the natural world.
Siegel embarked on his artistic odyssey at Hampshire College, culminating in his graduation in 1976, followed by the acquisition of a Master of Fine Arts from Pratt Institute in 1978, nestled in the vibrant borough of Brooklyn, New York. Yet, it was his fascination with geology that truly ignited his imaginative flame. Following his encounter with John McPhee’s enlightening work “Basin and Range,” Siegel’s inquisitiveness about the Earth’s geological processes took on a newfound vigor. This intellectual awakening led him to Scotland in 1983, where he retraced the steps of geologist Dr. James Hutton. The experience of witnessing the transformative power of time left an indelible mark on Siegel’s artistic vision and became a recurring motif in his later endeavors.
The evolution of Siegel’s artistry towards utilizing recycled materials prominently emerged through his newspaper sculptures. The pivotal juncture occurred at the Snug Harbor Sculpture Festival on Staten Island in 1990. Nestled near the once-massive Freshkills Park landfill, the festival’s locale played a pivotal role. Observing discarded waste being reclaimed by nature, Siegel’s imagination soared. His early sculptures, including “New Geology #1” (1990) and “New Geology #2” (1992), manifested this revelation in tangible forms.
The early 2000s heralded a significant shift in Siegel’s approach, as he delved into studio-based creations that ventured into the realms of life science and biology. The “Wonderful Life” series, inspired by Stephen Jay Gould’s landmark book on evolution theory, stands as a testament to Siegel’s intellectual curiosity. Completed in 2008, this series of 52 wall pieces provided Siegel with an avenue to explore the intricate interplay between art and science.
Yet, one of Siegel’s most audacious undertakings was the creation of “Biography.” Spanning an astonishing 156 feet in length, this mixed media wall piece is as enigmatic as it is expansive. Despite its monumental size, “Biography” has rarely been witnessed in its entirety, existing predominantly as a digital composite of photographs. Displayed in substantial sections at the Marlborough Gallery in 2011 and 2013, this work captivated audiences with its scale and artistic ingenuity.
Siegel’s artistic trajectory continues to evolve. Since 2013, he has ventured into the realm of large collages that meld diverse artistic mediums, encompassing object creation, photography, computer manipulation, and film. The resulting pieces, such as “A Puzzle for Alice” (2016), “35 Pieces” (2017), and “An Art Video” (2018), underscore his ability to experiment and innovate. Significantly, “An Art Video” secured the Grand Jury Prize for Best Experimental Film at the Red Rocks Film Festival in 2018, highlighting Siegel’s versatility.
Despite the acclaim and recognition he has garnered, Siegel remains unassuming. His grants and awards, including the Martin and Doris Rosen Award and the ArtsLink Collaborative Projects Award, underscore the acknowledgment of his dedication to the arts. His exhibitions at esteemed institutions like Marlborough Chelsea and Cynthia Reeves Projects exemplify his ability to fuse environmental concerns with artistic expression, forging connections between aesthetic delight and ecological contemplation.
Public art commissions have also been a defining aspect of Siegel’s oeuvre, allowing him to engage with audiences globally. From “Suncheon Weave” in South Korea (2016) to “Meran Flowers (The Cake)” in Italy (2015), and more recently “Like a Buoy, Like a Bottle” in Providence, Rhode Island (2019), Siegel’s creations encourage viewers to ponder the world around them.
Universities have also benefitted from Siegel’s artistic prowess. His projects, such as “Tilt 2005” at Kent State University and “E-virus” at Stanford University, showcase his commitment to fostering creative expression within academic institutions.
At the core of Siegel’s artistic philosophy lies a profound understanding of the environment and its intricate complexities. “Biography” and his dedication to transforming discarded materials into thought-provoking art underscore his ability to weave narratives that transcend time, invoking contemplation on the connections between humanity and its surroundings.
In essence, Steven Siegel’s artistic journey is marked by insatiable curiosity and an unwavering commitment to crafting narratives through his recycled creations. From his early newspaper sculptures to expansive wall pieces and innovative collages, he consistently lets his art do the talking. As he navigates the intersection of art, science, and environment, Siegel leaves a lasting legacy that encourages reflection on the intricate relationship between humanity and the world it inhabits.
