Carole Seborovski is a New York City artist whose undulating sculptures, biomorphic drawings, and relief paintings embody a stew of cultural and religious references. Intrigued by Hindu sculptures, embellished reliquaries, African fetish objects, Minoan figures and amulets from ancient Egypt, her work taps into diverse religious and ritualistic art practices. Seborovski holds the belief that materials hold power and that art makes manifest the undercurrent of our shared yearnings regardless of our culture or place in time.

Seborovski’s totemic sculptures are formed by mirroring the coiling technique that has been practiced globally for thousands of years. By placing one wet clay coil on top of another, the artist joins these coils together with a small wooden tool. The resulting forms and textures are an embodiment of the artist’s touch.

In her drawings, the erasures give the impression that forms fluctuate between arising from and disappearing into the void of the page. She treats the paper as if it were an object where it is cut, drawn, folded, collaged and erased. Subtle yet rich textural and spatial dimensions are remnants of her explorations, culminating in a precise play of opposites. Similar in spirit to a Zen ink scroll, there is a meditative quality arising from her works on paper.

Seborovski's relief paintings often incorporate metal leaf, paint, beads, rope, sand, clay, and mirrors. Much like African fetish figures, where materials conjure up mysterious forces, Seborovski holds the belief that art and the materials from which it is comprised hold power.

Through her combination of materials and the topographical forms that result from her touch and the process of her reworkings, these sensual pieces straddle the line between opposites and point toward the spiritual. Seborovski’s work resonates like ineffable objects waiting to be unearthed by future civilizations.