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Meredith Sellers

@mmerde___

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Artist🥀 Writer👀 Zookeeper, Feline Petting Zoo🐈 Cryptkeeper @muttermuseum 💀

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Thanks to everyone who made it out to @split_level_fair ! I was really thrilled by the presentation @designhunger curated, putting my work together with @brentowens —our work could not be more different but Alex has an incredible eye for color and the pieces complemented each other beautifully, contrasting in form and texture and connecting in color, all held together by the grid of @rimadesio_newyork ‘s stunningly designed space in this unusual presentation.

I also wanted to shout out Alex for being such a conscientious curator. It is rare to find someone who is so deeply curious about an artist’s work and practice and I truly appreciated the hours-long visit she did at my studio in Philadelphia and the effort she put in to make sure she really understood and represented the work. Making and seeing art is one of the most potent ways of sharing meaning, and Alex cares about that deeply. It was exhilarating to share what I’ve been working on in the studio with so many new people and to get so many great responses to my new paintings. I am deeply grateful to everyone involved!

First four photos are by Ethan Browning and the rest are by @designhunger by @mmerde___

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4 days ago

Deposition (after Pontormo)
2026
Oil and latex paint on panel
22.5x30”

I’m excited to be showing this work, one of my favorites I’ve made in the past few years, at @split_level_fair this week with @designhunger ! I made a smaller study of Pontormo’s Deposition from the Cross (a perennial favorite) as the first work I made after seeing it in Florence, but it evidently wasn’t done with me yet. Images often come together somewhat intuitively for me, I try out a bunch of juxtapositions and when one really clicks, you just know. This one knew. by @mmerde___

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11 days ago

@split_level_fair
OCT 1 - 3 / 2026
RIMADESIO New York

New York–based art consultant ALEX STOLLER brings together works by BRENT OWENS and MEREDITH SELLERS as examples of artists exploring humanism in an age of automation.Through material intervention, purposeful visual omissions, and process‑driven composition, their works invite deeper exploration when experienced side by side.

Owens’s carved forms embrace deliberate clunkiness and intuitive mark-making. Owens pushes back against streamlined, machine production, creating
objects that provoke visceral reactions and introduce a sly humor.He frames his practice as an exploration of Anthropocene Blues, confronting humanity’s
awkward relationship to the natural world and the role we inevitably play in shaping it.

Sellers’ paintings compel us to look through compositions that combine architectural and digital windows, revealing how screens crop, flatten, and shape perception while still offering glimpses into other worlds. With striking photorealism, her paintings draw from familiar images in art history and contemporary media, reframing them around themes of time, mortality, and consumption.

As automated systems streamline how images move through visual culture and flatten the complexity of meaning, Sellers and Owens reaffirm the essential role of human‑made art in protecting ambiguity and individual interpretation.

TICKETING link in bio 🔗👆
www.splitlevelfair.com/visit2026 by @mmerde___

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a month ago

Desire (After Dieric Bouts)
Oil and latex paint on panel
14.5 x 21.5”
2026 by @mmerde___

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3 months ago

Chewed Up, the new Profligate album from @trick_of_disaster came in the mail yesterday! I was thrilled to lend some images of my paintings to this album—I’ve been a fan of Profligate for years and it’s such a unique opportunity to have another artist use your work in a way that adds a completely new texture to it. The music is pulsing, dark, and magnetic, totally invigorating to listen to. Congrats to Noah on releasing some truly sick new music, I’m happy to have played a small part in it! Link in my bio to listen and buy the album. by @mmerde___

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4 months ago

New one, featuring a portion of Holbein’s The Body of the Dead Christ in the Tomb (1522). This incredibly strange painting is life-sized, stretching across a cramped horizontal frame. It depicts Christ’s body after being taken down from the cross. The process of putrefaction has begun, with extremities turning shades of green and brown, the eyes staring vacantly. It is utterly devoid of any trace of divine light or beauty, as was commonly depicted. Merely the human body of a criminal, stuffed into a stone tomb to rot.

345 years later, the painting’s stark realism caused Fyodor Dostoyevsky to have a crisis of faith. Upon seeing it at the Kunstmuseum Basel in 1867, he climbed on a chair to gaze closer, as it was hung high in a salon style. His wife, Anna, found him there and pulled him down, fearing his distress at the painting would trigger an epileptic seizure.

He later made it a centerpiece of his novel The Idiot. by @mmerde___

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5 months ago

Sorrow (after Dieric Bouts) [detail]
Oil and latex paint on panel by @mmerde___

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6 months ago

This morning we made the incredibly hard decision to let Max go. The past few months have been so hard, and this administration has cost us so much, personally and globally, in ways I wouldn’t have imagined a year ago, but this morning was the hardest so far. Max had kidney disease and cancer and it became clear in the early hours that we needed to let him go to keep him from unnecessary suffering.

Max was 17. I found him as an abandoned kitten screaming his head off in the parking lot of my apartment on Eutaw Street in Baltimore. I put food out for him but he completely ignored it and followed me, barging into my apartment. He was so needy at first, always wanting to he held, and cried when I left the room, afraid he was going to be abandoned again. He grew into a mischievous boy, chomping on my razors, eating charcoal I left out while drawing, getting into parts of the kitchen cabinetry I did not think possible. He’s the only cat I’ve ever seen play fetch, he would bring a ball back after I threw it and drop it at my feet. He loved car rides and licking the tub after we showered. In recent years, he waited for us to go to bed before he wedged himself on top of me every night to tuck me in. 17 years is a long time to be loved by someone, I was so lucky. by @mmerde___

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7 months ago

Hans Memling’s Last Judgement (1467-1471) is one of the most incredible apocalyptic paintings in Western art. It took him six years to complete and shows writhing masses being sorted into Heaven and Hell across an expansive triptych. The panel of the Damned, of which I’ve copied a portion here, features bodies twisting and pulling as they fall into the black abyss off Hell, a sensation that struck me as relatable in our volatile times. Many thanks to the National Museum in Gdańsk for supplying me a high-res image to work from. #HansMemling #LastJudgement by @mmerde___

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7 months ago

Last completed section of my last painting of 2025. More soon. by @mmerde___

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8 months ago

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10 months ago

Just completed another excerpt from Pontormo’s Deposition, a supremely strange and almost hallucinatory painting still residing in its original home in the Church of Santa Felicita in Florence. When you visit, you must drop a euro in a machine that lights it for a paltry 30 seconds, which even upon several renewals isn’t nearly enough to take in its wonderously keyed chroma, swirling composition, or cacophony of figures seemingly unmoored from the tyranny of gravity. The work feels truly out of time and has been a long-held fascination for me. Recreating this small sliver in paint was revelatory. by @mmerde___

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a year ago