1976

• Artists Space, New York, New York

1977

• Richard and Hinda Rosenthal Foundation Award for a young artist of distinction who has not yet received due recognition, American Academy & Institute of Arts and Letters, New York, New York

• Candidates for Academy Awards and Honors, American Academy & Institute of Arts & Letters

• Recipients of Academy Honors, American Academy & Institute of Arts & Letters, New York, New York

1978

• College of Creative Studies, University of California, Santa Barbara, California

1979

• William O'Reilly Gallery, New York, New York

1980

• Salander O'Reilly Gallery, New York, New York

• Martha White Gallery, Louisville, Kentucky

1982

• Martha White Gallery, Louisville, Kentucky

• Martha White Gallery, Louisville, Kentucky

• Inaugural Exhibition, Grayson Gallery, Chicago, Illinois

• Gallery Ninety-Nine, Bay Harbor Islands, Florida

1983

• DBR Gallery, Cleveland, Ohio

• Grayson Gallery, Chicago, Illinois

• The Nancy Yewell Collection, Baxter Art Gallery, Jay Belloli, curator, California Institute of Technology, Pasadena, California

• Martha White Gallery, Louisville, Kentucky

• Ivory Kimpton Gallery, San Francisco, California

1984

• Ivory Kimpton Gallery, San Francisco, California

• Martha White Gallery, Louisville, Kentucky

• Gallery Selections, Jan Turner Gallery, Los Angeles, California

• Hundreds of Drawings, Artists Space, New York, New York

• DBR Gallery, Cleveland, Ohio

1985

• Residency Fellowship, Rockefeller Foundation, Bellagio Study Center, Bellagio, Italy

1986

• Glick Organization, The Promenade, New York, New York

• Patricia Hamilton 112 Greene Street Gallery, New York, New York

• Pasadena Collects: Art of Our Time, Malinda Wortz, curator, Art Center College of Design, Pasadena, California (catalogue)

1987

• Ivory Kimpton Gallery, San Francisco, California

• Hokin Kaufman Gallery, Chicago, Illinois

• Christmas Show, Hokin Kaufman Gallery, Chicago, Illinois

1988

• Patricia Hamilton 112 Greene Street Gallery, New York, New York

• Eve Mannes Gallery, Atlanta, Georgia

• Downtown Perspectives, Adelphi University Manhattan Center, New York, New York

• Recent Acquisitions, John & Mable Ringling Museum, Sarasota, Florida

1990

• Georgetown Plaza, New York, New York

• Patricia Hamilton Gallery, Santa Monica, California

• Hokin Kaufman Gallery, Chicago, Illinois

• Works on Paper, Hokin Kaufman Gallery, Chicago, Illinois

1993

• Jean Albano Gallery, Chicago, Illinois

1994

• Recipient of the 1994–1995 Indo-American Senior Research Fellowship, Fulbright Scholar Program

  • Project: Study of the meaning and use of color in traditional Indian art forms

1995

• Perspectives on India, Krasdale Corporation Art Gallery, New York, New York

• Paper Works, Hurlbutt Gallery, Greenwich, Connecticut

1997

• Gold and Silver, Jean Albano Gallery, Chicago, Illinois

1998

• State Street Gallery, Sarasota, Florida

2000

• Hunter Gallery Selects, Leubsdorf Art Gallery, Hunter College, New York, New York

• New Paintings by Sigrid Burton, Sharon Rosenfeld, & Jennifer Young, Emily Lowe Gallery, Hofstra University, Hempstead, New York

2001

• Merck & Company, Inc., Global Headquarters, Whitehouse Station, New Jersey: site-specific suite of paintings for central concourse and entrance lobbies

• Rockefeller Arts Center, State University of New York, Fredonia, New York (catalogue)

• McArthur Gallery, Tampa, Florida

2002

• Six Painters, Kreuger Gallery, Pasadena, California

2003

• FLATFILE Contemporary, Chicago, Illinois

• Baum Gallery of Fine Art, University of Central Arkansas, Conway, Arkansas

• Gallery Selections, Kreuger Gallery, Pasadena, California

• Inaugural Exhibition, FLATFILE Contemporary, Chicago, Illinois

2004

• Gallery Mebuki, Osaka, Japan

• Waterworks Visual Arts Center, Salisbury, North Carolina

• Essentials, O'Melveny Gallery, West Hollywood, California

• Amy Simon Fine Arts, Westport, Connecticut

• A Global Language, FLATFILE Contemporary, Chicago, Illinois

2005

• Amy Simon Fine Arts, Westport, Connecticut

2006

• O'Melveny Gallery, Los Angeles, California

• Amy Simon Fine Arts, Westport, Connecticut

• O'Melveny Gallery, Los Angeles, California

2007

• Inaugural Exhibition, Julie Clark Maxwell Artist in Residence Fellowship, Westridge School, Pasadena, California

2011

• Vestiges, AIR Gallery, Jill Connor, curator, Brooklyn, New York

2013

• Where Are We?, AIR Gallery, Elisabeth Smith and Leila Daw, curators, Brooklyn, New York

• 40/40, AIR Gallery, Lily Wei, curator, Brooklyn, New York

2016

• California Artists, Mullin Automotive Museum, Ventura, California

2017

• Mount San Antonio Gardens Gallery, Pomona, California

• Brand 45: National Exhibition of Works on Paper, Leslie Jones, juror, Brand Gallery and Art Center, Glendale, California

2018

• Holiday Group Show, Tufenkian Fine Arts, Glendale, California

• That Layered Look, Peter Frank, curator, Tufenkian Fine Arts, Glendale, California

• California Artists from the Mullin Automotive Museum Collection, Carnegie Art Museum, Oxnard, California

• Selected Paintings, Gretel Stephens, curator, Red Hen Press Gallery, Pasadena, California

2019

• Mary Lowther Ranney Distinguished Alumna Award, Westridge School, Pasadena, California

• Performing Arts Center Gallery, Westridge School, Pasadena, California

• Holiday Group Show, Tufenkian Gallery, Glendale, California

2020

• Tufenkian Fine Arts, Glendale, California (catalogue)

• That Layered Look #2, Peter Frank, curator, Tufenkian Fine Arts, Glendale, California

2021

• Multifaceted, curated by John David O'Brien, Tufenkian Fine Arts, Glendale, California

2021–2022

• Out of the Blue, John O'Brien, curator, Department of Cultural Affairs, Los Angeles

2022

• Tufenkian Fine Arts, Glendale, California

• Plan:d Gallery, Los Angeles, California

2023

• SCAPE (Southern California Art Projects and Exhibitions), Corona del Mar, California

• The Forest Floor, Carole Ann Klonarides, curator, Stuart Haaga Gallery, Descanso Gardens, La Cañada, California

“Color and drawing are the foundation of my practice. For me, painting concerns an active visual colloquy, providing a view to an interior dialogue and an immersive experience beyond the quotidian, much like a symphony engages the ear. The imagery and color in my work are referential, extracted from natural objects and phenomena and are meant to evoke associations from the viewer, although these associations may differ from my personal sources, references and intentions.

I draw literally and figuratively from the natural world. My drawing and mark making refer to and derive from botanical and biological anatomies, including marine life, as well as, the structures of both macro and micro cosmologies and writing systems, such as logograms. These sources include collected objects, such as shells, botanical matter, bones, ephemera, photographic resources, and the direct observation of natural phenomena, including landscape and weather. The specific content is intended to be ambiguous, yet evocative, referencing light and spatial phenomena, a common language of forms, and a shared cross-cultural use of symbols.

A particular influence, for more than 20 years, has been my investigation into Indian art forms and aesthetic theory, including academic scholarship and extensive travel in the subcontinent. India has an ancient and sophisticated aesthetic theory which holds, broadly stated, that the importance of a work of art is the response that the work evokes from the viewer. Within this context, color is understood to have great expressive and communicative power. Color is sui generis; it communicates in its own unique language. It creates atmosphere and elicits not only an emotional, but also a physiological response.”

-Singrid Burton