Born in Valencia in 1944. She studied at the School of Fine Arts of Sant Jordi in Barcelona between 1960 and 1965. She participated between 1969 and 1971 in the Seminar of automatic generation of plastic forms of the Calculation Center of the Complutense University of Madrid. In the 70s her pictorial work will use geometry as a normative base. In 1979 she received the Juan March Foundation Scholarship for Spain and in 1980 the Center for the Promotion of Plastic Arts and Research of the New Expressive Forms. Between 1980 and 1982 she resides in Boston, after receiving the Scholarship of the North American Hispanic Joint Committee for Cultural Affairs. At Harvard University she will enjoy another specific Scholarship to study: Technical Examination of Works of Arts, Fine Arts Department. It is there where the Las Meninas series begins to work, applying a basic grid structure to reinterpret the spaces and atmospheres of Velázquez's painting.
On her return to Spain from the United States, she carries out various environmental installations, all of them with a marked, but subtle pictorial character, that pose a deep plastic renovation, as in Milk and Blood, where the walls of the gallery, covered with red carnations appear white once the flowers wilt. The next series entitled The Alhambra constitutes a work of reinterpretation of the Nasrid palace. In this case, the use of color is more measured although the grid is also a reference base. To close this project, the Fons et Origo installation is carried out, which tends to recreate the nightlife of the reflections on the pond of one of the patios of the Alhambra.
In her successive installations and pictorial series, light becomes the central element. In 1992 she made a projection on the bare walls of the courtyard in the Castle of Vélez Blanco (Almería) that allowed us to visualize again the Renaissance portico that is currently in the Metropolitan Museum of New York. In other installations, she uses copper and cotton yarn that, through proper lighting, recreates the effect of light beams. In a later piece by the copper wires, drops of water slowly descended.
In 1993 she received the National Prize of Plastic Arts. Her installations maintain a close relationship with her pictorial series. Towards the end of the 90s the reticle disappears, but there remains a certain geometric idea, of wall and space, through the plant, of the shapes of the leaves, which subtly evokes Granada, a city with which Soledad Sevilla has been closely linked from the 80s to the present and through her classes at the University. The Gold Medal for Merit in Fine Arts and the José González de la Peña Award, Barón de Forna, awarded by the Royal Academy of Fine Arts of San Fernando, are awarded in 2007. In 2007 she taught a lecture at the Museo del Prado within the program Focus on their series Las meninas, Los apostles de Rubens and Atalanta e Hipómenes.
Her most recent works have addressed the shape of the window as a pictorial space and also the textures of wood and metal surfaces. The series on The Apostles of Rubens and Altarpiece, are two large works in which this treatment of wood textures is shown. Participate in the Biennial of Pontevedra 2010. Make an installation in the Palacio de Cristal del Retiro Madrileño that internally reproduces the architecture of the palace as well as recreating the celestial vault. The title Written in the celestial bodies, refers to the punctuation marks printed on the membrane that forms the piece, work done in 2011/2012. In 2013, the MAS R Gallery season opened, preparing three different works that adapted to the spatial characteristics of each one of them. With ephemeral materials such as paper or neoprene, try the three-dimensional pieces that are then repeated in metal. The video as a complement to the pictorial language, as well as photography are present in these latest works. You could say of her current painting, which recreates a "soft geometry" maintaining a constant in her work, which repeats a unit and by accumulation it disappears to create more extensive planes.
In 2014 she received the Art and Patronage award. The award recognizes the excellence of her work, the achievements in her career and the involvement in the construction of her career. Her work represents a significant contribution to the development of contemporary art and places it as a benchmark in the sector. In 2015, at the José Guerrero Center she made the exhibition Variations of a line that reviews her work from the 60s to the 80s and the Golden House installation that transforms the courtyard of a Moorish house in Albaicín, also participates in the exhibition Nothing fears, she says in the National Museum of Baroque Sculpture of Valladolid with the site specific piece It would be the night. In 2017 she participated in the collective exhibition Yesterday and today the maze of time at the Marlborough gallery in Madrid, and exhibits in the Passevite gallery in Lisbon the project on Pessoa The routes of restlessness work developed from the Book of restlessness. Genesis is the title of the exhibition at the Marlborough Gallery in Barcelona, a review of her work from the 60s to 2017. In 2018 she performs at the Fuenlabrada Tomás y Valiente Art Center (CEART) the exhibition Spaces of the gaze a wide retrospective of his work where you can see her most important series from the 70s to the present, as well as some of her installations.