A Short Biography
I was born and grew up in Manhattan as Geri Seignious, later evolving into Juliet and eventually adopting the name Ndidi, given to me by an African female shaman. Ndidi means patience and perseverance. Growing up in Harlem, I witnessed Malcolm X enlightening crowds on street corners, Adam Clayton Powell preaching in Abyssinian Baptist Church, and doctors and porters living in the same buildings. Children played a dizzying array of street games, and people sat on fire escapes to catch a breeze in the summer. It was I was born and grew up in Manhattan as Geri Seignious, later evolving into Juliet and eventually adopting the name Ndidi, given to me by an African female shaman. Ndidi means patience and perseverance. Growing up in Harlem, I witnessed Malcolm X enlightening crowds on street corners, Adam Clayton Powell preaching in Abyssinian Baptist Church, and doctors and porters living in the same buildings. Children played a dizzying array of street games, and people sat on fire escapes to catch a breeze in the summer. It was here, in this vibrant environment, that I acquired my passion for art. Rainy days, or “inside days,” were particularly special, filled with paper, pencils, crayons, and the expectation of creation and transformation. From a young age, I was deeply passionate about painting and dance. These two creative outlets allowed me to express myself in unique ways. Having two passions, I elected to pursue both in an after-school program for ballet and art in Junior High School. It was then that I realized how much I loved them.
After auditioning for the High School of Music and Art and being accepted to both, I decided to attend the High School of Performing Arts, famously known for the film Fame. This decision was pivotal in shaping my artistic journey. At the High School of Performing Arts, I immersed myself in dance, honing my skills and exploring various styles. This experience refined my technical abilities and instilled a profound appreciation for the performing arts. After graduating, I had offers from numerous prestigious organizations, including the Martha Graham Dance Company, a full scholarship for dance at the Juilliard School, and an apprenticeship program with the New York City Ballet to ultimately partner with Arthur Mitchell, the only African American dancer in the company. After several years of study with the NY Ballet Company, the Alvin Ailey Dance American Dance Company invited me to join as a founding member. Working with Alvin was an extraordinarily moving and visual experience. Being part of a black company and discussing black heritage at the height of African American political and cultural awareness was terrific and significant. During this experience, I first thought of expressing thoughts, emotions, and history through paintings in this context.
After a long career in dance with Alvin Ailey and across Broadway, Hollywood, television, and several countries abroad, I became inspired and, more than a little, obsessed with painting in 1990. Although I painted from 1980 to 1989, my passion for painting ignited during a trip to Edisto Island, South Carolina—a small sea island off the coast of Charleston, S.C., where my parents were from; they were Gullah people. Edisto Island was one of the first places where African Americans arrived in the United States. It retained numerous vestiges of its unique language, architecture, food, and cultural history. Initially, I had gone to Edisto to learn about and feel a connection with my heritage, which my family kept hidden from me as my parents never spoke about their birthplace or African American history in general. While on the trip, I conversed with various individuals, including family members, legal officials, archivists, activists, and churchgoers. The trip also involved site visits and archival work, such as looking through pictures of relatives, legal documents about slavery and property, and several detailed personal diaries. This process was overwhelming yet profoundly connecting.
Through art, I found my connection to my heritage and a modality to share it with others. My paintings document, explore, and commune with my heritage through an explosive assemblage of styles and techniques, primarily figurative with elements of abstraction. You might find painted portraits, photos, historical documents, cheesecloth, shells, oils, acrylics, varnish, and pastels within any one piece. My signature style includes painting on tarpaper. Self-taught, my work is influenced by numerous artists, including Romare Bearden, Van Gogh, Matisse, Jackson Pollock, and Basquiat. I also studied portrait painting at The Art Students League of New York under John Howard Sanden and at The Art Students League of Houston, Texas, while experimenting with self-taught techniques.
I have exhibited in many galleries in the United States, Europe, and India. Furthermore, I have also been commissioned to paint murals for various institutions and clients. However, my favorite to date was painting a series on the history of the “Untouchables” (i.e., Dalits and Harijans) for a museum in Ahmedabad, Gujarat, India.
I have received various awards from different exhibits, such as curator Faith Ringgold. At the age of 84, I continue to work on numerous series. I am writing my memoirs and have begun combining poetry with some of my paintings. Enjoying the journey of self-discovery and artistic expression, I continue to evolve as an artist. My work is a testament to my perseverance and patience, embodied in Ndidi. As I look to the future, I am excited to explore new mediums and techniques, always striving to push the boundaries of my creativity. My goal is to inspire others through my art, sharing the rich tapestry of my heritage and the stories that have shaped me.
Thanks for visiting
Juliet (“Ndidi”)
After auditioning for the High School of Music and Art and being accepted to both, I decided to attend the High School of Performing Arts, famously known for the film Fame. This decision was pivotal in shaping my artistic journey. At the High School of Performing Arts, I immersed myself in dance, honing my skills and exploring various styles. This experience refined my technical abilities and instilled a profound appreciation for the performing arts. After graduating, I had offers from numerous prestigious organizations, including the Martha Graham Dance Company, a full scholarship for dance at the Juilliard School, and an apprenticeship program with the New York City Ballet to ultimately partner with Arthur Mitchell, the only African American dancer in the company. After several years of study with the NY Ballet Company, the Alvin Ailey Dance American Dance Company invited me to join as a founding member. Working with Alvin was an extraordinarily moving and visual experience. Being part of a black company and discussing black heritage at the height of African American political and cultural awareness was terrific and significant. During this experience, I first thought of expressing thoughts, emotions, and history through paintings in this context.
After a long career in dance with Alvin Ailey and across Broadway, Hollywood, television, and several countries abroad, I became inspired and, more than a little, obsessed with painting in 1990. Although I painted from 1980 to 1989, my passion for painting ignited during a trip to Edisto Island, South Carolina—a small sea island off the coast of Charleston, S.C., where my parents were from; they were Gullah people. Edisto Island was one of the first places where African Americans arrived in the United States. It retained numerous vestiges of its unique language, architecture, food, and cultural history. Initially, I had gone to Edisto to learn about and feel a connection with my heritage, which my family kept hidden from me as my parents never spoke about their birthplace or African American history in general. While on the trip, I conversed with various individuals, including family members, legal officials, archivists, activists, and churchgoers. The trip also involved site visits and archival work, such as looking through pictures of relatives, legal documents about slavery and property, and several detailed personal diaries. This process was overwhelming yet profoundly connecting.
Through art, I found my connection to my heritage and a modality to share it with others. My paintings document, explore, and commune with my heritage through an explosive assemblage of styles and techniques, primarily figurative with elements of abstraction. You might find painted portraits, photos, historical documents, cheesecloth, shells, oils, acrylics, varnish, and pastels within any one piece. My signature style includes painting on tarpaper. Self-taught, my work is influenced by numerous artists, including Romare Bearden, Van Gogh, Matisse, Jackson Pollock, and Basquiat. I also studied portrait painting at The Art Students League of New York under John Howard Sanden and at The Art Students League of Houston, Texas, while experimenting with self-taught techniques.
I have exhibited in many galleries in the United States, Europe, and India. Furthermore, I have also been commissioned to paint murals for various institutions and clients. However, my favorite to date was painting a series on the history of the “Untouchables” (i.e., Dalits and Harijans) for a museum in Ahmedabad, Gujarat, India.
I have received various awards from different exhibits, such as curator Faith Ringgold. At the age of 84, I continue to work on numerous series. I am writing my memoirs and have begun combining poetry with some of my paintings. Enjoying the journey of self-discovery and artistic expression, I continue to evolve as an artist. My work is a testament to my perseverance and patience, embodied in Ndidi. As I look to the future, I am excited to explore new mediums and techniques, always striving to push the boundaries of my creativity. My goal is to inspire others through my art, sharing the rich tapestry of my heritage and the stories that have shaped me.
Thanks for visiting
Juliet (“Ndidi”)