Hollis Sigler used a faux naive style to execute narrative paintings, drawings and prints. Since 1985 Sigler collaborated with Bud Shark to produce monoprints, lithographs, three-dimensional lithographs and woodcuts that are intensely personal and emotionally complex. She depicted unpeopled rooms and landscapes full of scattered objects left behind by an unseen heroine, The Lady.
In her recent work, including a group of drawings called “The Breast Cancer Journal”, Sigler explored the psychological, social and political implications of this epidemic. In her lithograph, “Being on the Edge of Hope, Each Day Brings Us Closer to Victory”, Sigler’s goal was to increase public awareness of breast cancer. Her message was one of hope for a cure for this disease.
Her final print project at Shark’s was a suite of four lithographs with woodcut and chine collé borders titled Suite for the Gods. In these prints Sigler used metaphoric images from nature and the spiritual life to confront and accept her own mortality.
A book, “Hollis Sigler’s Breast Cancer Journal”, with essays by the artist, Dr. Susan Love and James Yood was published by Hudson Hills Press in 1999.
Sigler was Professor of Art at Columbia College in Chicago. Just prior to her death she received a lifetime achievement award from the College Art Association. She has shown her work throughout the USA and is represented in many public collections, including The Art Institute of Chicago, The Baltimore Museum, The High Museum, Atlanta, The Seattle Art Museum, The Whitney Museum of American Art and others.
Complete biography available by request.
