Tammra Sigler has painted and taught in the Baltimore/Washington area and Naples, Florida throughout the past 45 years. Tammra received her education at Syracuse University, School of Fine Arts, and got her BFA, with honors in painting, from the Maryland Institute College of Art, Baltimore, Maryland in 1965. Ms. Sigler has shown her work extensively and been awarded many prizes in the Baltimore/Washington area as well as Boston, Philadelphia, New York, Cincinnati, Los Angeles, Lexington, Palm Beach, and throughout South America. Tammra’s work has been acquired by The National Museum of Women in the Arts, Washington, D.C. and the Baltimore Museum of Art. It is included in many private collections both nationally and internationally. Her work has been selected three times (1994, 2000, 2010 ) to be represented in the national publication “New American Painting” by Open Studio Press, as well as "Studio Visit Magazine" (2014). Some of her corporate collections include Chase Manhattan Bank of New York, Peat Marwick Mitchell & Co., Ballard Spahr Andrews & Ingersoll, Health Insurance Association of America, Federal Reserve Bank of Virginia, Ayres/Saint/Gross Inc., Equitable Trust Bank, Shelter Development Corporation, Murdock Development Corporation of Los Angeles, Deloitte and Touche, The Johns Hopkins Oncology Center, Percontee Corporation, Commercial Credit Corporation, W. B. Doner Inc., Advertising Agency, United States Consulate, Spain, Health Insurance Association of America, Washington, University of Maryland, Towson University, and The Maryland Institute College of Art. Her work was featured in the13th Annual Naples Museum of Art Artists’ Studio Tour in 2008 and has shown at the von Liebig Art Center in their Founders and Encounter, as well asother juried shows. Her work was selected by the Baker Museum at Artis Naples for the "All Florida" exhibit in 2015. Currently, she is preparing for a two-person show this spring at the American University Museum (The Kaizen), Washington, DC.
These “Gardens” are not quite as carefree as their borders might suggest. They are, in fact,“very serious” self-portraits… the heart and soul, and complex moments of the artist. They fuse memories of real gardens, imagined gardens, and the self….the highs and lows, the joys and sorrows, the mysteries and the unknowns. They are safe confined spaces as well as open-ended exposed areas of suspense. I enjoy ambiguity and the juxtaposition of polar ideas. I like the play between chance/planned, random/order, and spontaneity/organization. These concepts, however, are not part of a preconceived, conscious plan. After the paintings “get painted,” they tell ME what they are about. I just try to pay attention!
Technically, I was interested in how I could make the unpainted areas as important as the painted areas. I learned how to “draw” with tape, making broad marks, and, upon removal of the tape, letting the unpainted areas speak vibrantly. As a result, the taped areas became an armature supporting an undulating, organic painted world. I used house paint on heavy Arches paper with mixed media, crayons, pastels, pencil….blending drawing and mark making, with the joys of paint.