The Circle of Life

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.

The Circle of Life — an older woman in blue halftone, walking stick in hand, the other arm raised. Inside her silhouette, a boy stares back — shades on, middle finger up, no concept of age, no sense of limits. The red dots sit on his sunglasses like a nod to the Terminator's glowing eyes — he too thought he was built to last. The perceptual toggle runs between the body that knows its borders and the kid who hasn't met his yet. That's the circle: the finger comes down eventually, the stick arrives on schedule, and the walk slows whether the boy inside agrees or not. Hirst suspended a shark in formaldehyde and called it The Physical Impossibility of Death in the Mind of Someone Living — here the impossibility lives inside the silhouette, a boy who can't imagine becoming what surrounds him. Crayon circles and spray drops mark the surface like time passing in no particular order, because circles don't have a start — only the body finds out where the end is.

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About the artist

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