Meredith Sellers’ paintings fuse the traditional concept of paintings as pictorial windows with the boundless possibilities of the digital screen. By appropriating images from a diverse range of sources - including digital advertisements, stock photography, art history and news outlets - Sellers confronts the underlying systems of power, wealth, and violence that shape our contemporary experience. Through the juxtaposition of halting and visceral portrayals of destruction, such as car crashes, alongside subtler indicators of catastrophe like dripping taps and melting ice-shelves, Sellers’ works present a compelling meditation on the prevailing macroeconomic, ecological and political forces that shape us.

Meredith Sellers (b. 1988, Baltimore, USA) is an artist and writer living and working in Philadelphia. She holds a BFA from the Maryland Institute College of Art and an MFA from the University of Pennsylvania. Conflating the centuries-old concept of the painting as a window with the infinite windows of the digital screen, her works utilize images appropriated from digital advertisements, stock photography, art history and news media to examine systems of power and violence.

Sellers has exhibited at Fragment, New York (2023); Workplace, London (2023); Young Space, Rosenwald-Wolf Gallery at UArts, ICA Philadelphia (2021); Lord Ludd (2016); Take It Easy (2022); Vox Populi (2016); Icebox Project Space (2016); and Pressure Club (2019); among others. Her work has been featured in Art Papers, Maake Magazine, and White Column’s Curated Artist Registry. Curatorial projects include Chewing the Scenery at Crane Arts (2016); The Midnight Sun at Pilot Projects (both co- curated with Jonathan Santoro) (2018); and Edith at Esther Klein Gallery (2018). She is an editor for Philadelphia-based online art publication Title Magazine; her writing has appeared in publications including Hyperallergic, The Philadelphia Inquirer, ICA Philadelphia’s Notes, Pelican

Bomb, ArtsJournal, and American Craft Magazine.