"Carole Seborovski combines two different worlds in her art. One is the world of concrete things, of tangible surfaces, the world that is perceived through the senses by touching and seeing the here and now. The other world lies beyond sensory perception - the spiritual world, intangible, immaterial and mysterious.
Seborovski merges these two areas into small, very highly condensed pictures and into drawings that are somewhat more expansive. She creates sensual, sophisticatedly formalised and imaginatively designed objects, enlivened by poetic metaphor. ... Although the works are the results of a highly individualized imagination, Seborovski's art cannot be considered naive in the art historical sense, and it is important to point to a number of both traditional and modern sources that have had a significant influence on her work. Zen and Taoist art, African sculpture, Brancusi, Mondrian, Hesse, Marden, these and other art historical echoes add considerable resonance to Seborovski's work. She devotes herself to modern abstraction in an extremely astute manner.
Nevertheless, the most important thing that makes Seborovski's work seem compelling is its core of poetic ineffability. In fact, some of her works are totally opposed to interpretation or classification. The small, pink box with the shimmering metal buttons does not open to reveal its secret. The black oval with the squiggly lines and seven sharp points is an absurd, inexplicable object. It is almost surrealistic and has the presence of a ritual fetish. This is less true of the works on paper, which can be placed much more naturally in a recognized modern category, that of the abstract picture. Generally speaking, however, it is clear that Seborovski does not mentally anticipate her paintings; it seems more likely that they must come to her as apparitions when she is physically absorbed in her work. when the analytical intellect has given way to the receiving intuition. Her preoccupation with materials and processes is a kind of meditative dialogue with the material world, which opens the door to a transcendent world; for this reason, these two realms combine in a kind of alchemical marriage, which makes her works so mysteriously seductive.

Excerpt from Ken Johnson: Transcendental Materialism: Carole Seborovski's new works, 1991