ST. MORITZ.- Galerie Karsten Greve is presenting a solo exhibition of works by Carole Seborovski in St. Moritz through July 3, 2026. Karsten Greve first devoted a solo exhibition to the artist in Paris in 1991. The present exhibition renews this longstanding collaboration and brings renewed attention to a body of work that has, over several decades, consistently eluded fixed categorization.

Seborovski is among those artists whose significance rests less on visibility than on the sustained rigor and singularity of her practice. Her works are held in major public collections, including the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, the Tel Aviv Museum of Art, and the Museo Cantonale d’Arte.

The exhibition brings together works on paper and sculptural works from the 1990s through the early 2000s, a particularly concentrated and inventive period in the artist's career. During these years, Seborovski developed a distinctive visual language poised between painting, drawing, relief, and object. While her work remains in dialogue with postwar abstraction, it extends that tradition through an emphasis on material presence, corporeality, and tactility.

The works on paper demonstrate how line, trace, and rhythm can generate compositions that are once disciplined and open. Circular motifs, reflections, and serial structures intersect with organic movemebt, producing images in which construction and intuition are held in dynamic equilibrium. In their economy of means, these works possess remarkable intensity.

The sculptural works transponse these concerns into space. Layered surfaces, relief-like accumulations, and linear systems create tensions between fragility and resilience, repetition and variation. Materials such as latex, vinyl, beads, sand, lace, glitter, glass, and enamel are released from their familiar associations and reconfigured with formal precision. In this respect, Seborovski engages key artistic debates of the late twentieth century: the expanded field of painting, the autonomy of materials, and the relationship between object and body.

The title Bloom Beneath suggests latent processes of becoming. Forms appear to emerge beneath the surface, color seems to rise out of matter, and tension unfolds through subtle movement. Works such as Girl's Dream (2000), Pods (2002), and Exodus (2003) exemplify the artist's ability to produce sensuously charged and structurally complex forms through restrained means.

This exhibition offers an opportunity to reconsider an artistic position that advances enduring questions of abstraction, materiality, and objecthood with quiet authority, formal clarity, and lasting presence.

Carole Seborovski was born in San Diego in 1960 and lives and works in New York City.