In 1972, awarded a full scholarship, Seidenglanz dove into modeling the figure and portraits in clay at the Pennsylvania Academy of Fine Arts where she felt a hopeful sense that "art belonged to me." With a back ground in ceramic sculpture, the focus on classical studies of the figure seemed right. She arranged to study cadavers with an anatomy professor in order to augment her understanding the human body. When she became the studio monitor of the art models at PAFA she brought in new kinds of body types – varieties of ages, shapes and sizes.
In spite of these efforts, she found that she did not relate to that classical formula – choosing instead landscape painting. And, she began to explore other media: photography, stone carving, welding and painting with acrylics.
In 1980, she was accepted to the Graduate School of Fine Arts at the University of Pennsylvania and began a period of deep absorption. The university provided a rich opportunity to broaden her understanding of art and culture, taking classes in anthropology and archaeology, non-European art history and architecture.
In the studio, a methodology based on scientific experiment was taught by Bob Engman and Maury Lowe in the Sculpture Department. This method aided in the discovery of new ideas in form using scale models like working drawings. She first created a series of tetrahedrons that explored the dynamics of that form in combination.
During the past five years, with the re-creation of an opportunity to work a full schedule in the studio, Seidenglanz created a series of six ceramic pieces about language and a series of crocheted projects. Her most recent drawing series, including a mural-sized ink and pencil drawing, will be the basis of a new group of pieces that will translate her ideas into ceramic sculptural forms.
Seidenglanz lives and works in Chester County, Pennsylvania with her husband and daughter.