Gorgonanas

Sebi works across spray stencils, robotic pen drawing, gold leaf, and digital collage — his practice moves between appropriation and reinvention, art-historical imagery taken apart, digitally recombined, then brought back into physical form. Manus et Machina continues where Thx for the Brush left off — but here, the human hand returns after the machine has drawn. Each piece begins as a robotic pen drawing from a digital collage, then receives layers of spray paint, crayon, and gold leaf applied by hand. The result is a dialogue between precision and gesture, algorithm and instinct. Silhouette and halftone raster compete for the viewer's attention in a perceptual toggle — you see one or the other, rarely both at once. The gold leaf adds a final layer: eternity meeting impermanence, icon meeting street.

Gorgonanas — Gorgon meets Ananas, Greek monster meets tropical fruit. The silhouette is a pineapple, split blue and red, but inside it Medusa's face emerges from the raster — her snake hair becoming the pineapple's crown, mythology morphing into still life. A gold leaf bow sits on her forehead, gift-wrapping a monster. Medusa's whole point was that looking at her killed you — so how does a work of art that wants to be seen deal with a subject that forbids it? With humor. The pun in the title is the method: two things that share nothing are forced into one word and one body until danger dissolves into something you can hang on your wall. Caravaggio painted Medusa's severed head on a shield; here she lives on as a fruit, defanged, decorated, still daring you to look.

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About the artist

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