Flower Painting

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. The Thx for the Brush series extends the painter's space with robotic tools: compositions emerge from digital collages, cutouts, and elements that develop directly on the paper — the work builds up on the sheet as much as it arrives from the screen. Many follow the Wheel of Fortune — Sebi collects thematic image sets from art history, pop culture, and the internet, runs them through the randomizer, and lets unexpected constellations emerge. The plotter translates, but the encounter between pen and paper introduces variables neither artist nor machine fully controls — ink pools, skips, bleeds. Tinguely built drawing machines to question authorship in 1959; Sebi's plotter picks up that thread sixty years later. "The miracle has already happened once something is physically manifested."

Flower Painting — the title is almost aggressively literal, the kind of generic label you'd find on a department store print. After centuries of flower painting from the Dutch Golden Age through O'Keeffe to Koons, calling something "Flower Painting" is either humble or very bold. A white orchid — immaculate, delicate — dominates the center, while a manga figurine embodying the Japanese idea of the feminine emerges from the halftone layers. A male presence lingers at the edges, barely there — fragments, a pierced ear, two shadows — more felt than seen. Things that shouldn't coexist stand in stark contrast: purity and perversion, elegance and danger, the untouched flower and everything that threatens to touch it.

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About the artist