Dániel Selyebi’s work is a blend of instinct and expression. He taps into the raw energy that drives us, letting it spill across the canvas in fluid, abstract forms. Pieces like "Ritual" and "Dream" show his ability to balance simplicity with depth, capturing moments that feel both spontaneous and profound. "Unit" takes this further, using lines and shapes to create a rhythm that guides the eye. "Mr. Fox," his most personal work, captures a version of himself from a transformative year. From "Bardo" to "Flow," each painting brings a sense of primal trust, grounded in nature and constantly evolving.
Q: Your work often emphasizes balance, especially through the idea of flow. How did this theme develop in your art?
A: I believe that designing logos has greatly improved my perception; it was there that I somewhat grasped the 'less is more' principle. Back then, I carried a sketchbook almost everywhere, its pages filling up one after another with dynamic abstract gestures. After much precise, more stylized designing, it felt good to let go of control and allow whatever needed to come forth. Over the years, these two different approaches have somehow intertwined, and I strive to keep them balanced in my painting process.
Q: "Ritual" went through many changes over a year. How does stepping away from a piece and returning to it shape your creative process?
A: Over the past year, my perception has changed significantly, becoming more refined. This is likely due to the practice of mindful presence, during which I somehow find harmony within myself. Previously, I tended to get stuck on a particular piece for a long time, which is not a good habit, as the process can easily become forced. However, if I revisit it after some time, the shortcomings immediately become apparent. The aforementioned piece felt excessive; I found the unnecessary splattering somewhat attention-seeking. It felt good to rework it, and after removing certain elements, the painting felt much lighter and clearer.
Q: "Dream" stands out as a more spontaneous work for you. How did you approach this piece differently from the others, and why do you see it as the purest of your 2023 works?
A: Maybe that day was a bit too busy, and I didn’t have time to overthink or dive into the details of the painting. It was a loose yet dynamic process. I was in a hurry to get somewhere, so I planned to continue it another day. I intended to refine it later, but in the end, I didn’t want to add more details. There was harmony, as if everything had flowed out of me instinctively. It’s exactly this sense of ease that I want to hold onto. And sometimes, that requires the process to be quick and brief. This was perhaps the biggest lesson of 2023 for me.
Q: You describe the principles of "less is more" and "flow" as key to your work. How do these ideas manifest in pieces like "Unit"?
A: When planning a painting, I try to use every line and shape as part of a flow that guides the eye. I need to keep this in harmony with the stylized character. Sometimes, I need more mass—more details—to make the figure stand out, but then I have to scale back the blacks and adjust the textures to make it feel more airy and delicate. It’s a bit hard to describe—balance always emerges during the process.
Most of the work consists of just staring at the canvas for minutes before drawing three lines or splattering some ink. Then, somehow, it all comes together. There’s a dynamic flow to it, and the character feels both dreamlike and surreal. These are the kinds of things I keep telling myself.
Q: "Mr. Fox" is a significant piece for you, almost like a self-portrait. What is it about this painting that makes it so meaningful to you?
A: This is a little deeper level. 2019 was a very difficult year for me. By then, I had already been working on trauma healing for a year, and it put me in a really heavy state. It was a tough struggle, and I didn’t feel much like creating. That’s when I made a smaller version of this painting. It was just a sketch, what I splattered together in a burst of emotion. I didn’t have a particular goal with it, but suddenly, I realized it could be a good direction to follow. I look back on that time with warmth. There were intense processes happening within me, closely tied to the evolution of my painting. This piece always reminds me of who I was back then.
I’d love to meet that version of myself and tell them that everything will be okay.
Q: "Bardo" explores a transitional moment. What led you to focus on this in-between space, and how do you approach such a concept in your art?
A: It’s a feeling that surfaces in the present moment. It’s hard to put into words—something intangible. A state infused with calm trust. I gave this piece its title afterward because, somehow, it reminds me of this feeling. As if it reflects an in-between state of being. After all, that’s what "bardo" means.
Q: In "Flow," you explore primal trust in the natural cycle. How do you express this trust through your work, and what does it mean to you?
A: I can only express trust by giving it and staying in it. And I can only do that by shutting out unnecessary thoughts and fully experiencing the present moment. In a way, this is a goal for me. We, as humans, are not separate from nature—this deep, primal trust is within us, but we’ve become distant from it. Experiencing it is a long process, but it’s possible. I’m still at the beginning—maybe I’ve felt something like it only a few times. But since then, I feel like this is the foundation of everything. I come into harmony with myself—or with everything… I’m not even sure. I practice presence just the same while washing dishes or mowing the lawn as I do when painting.
I don’t want to convey any particular philosophy through my work—just the imprint of this feeling. The animal world is especially fascinating to me because I feel that animals are perfectly grounded channels of this state. I see in them that raw, instinctive dynamism that I strive to express.
Q: You’ve shifted from illustration to larger paintings. How has this change affected your approach to art, and where do you see your work heading?
A: For now, I’ve reached out to a few interior design studios that are open to my work. I feel like this is a good direction, but I’d love to participate in international group exhibitions as well. I follow many smaller galleries that might be interested in my work. There’s a bit of procrastination in me—I always find something in my portfolio that I want to refine—but this year, I’ll send it out to a few places and see what happens. It’s a process, but I trust that I’m on the right path. I also apply to open calls—that’s actually how I found you, so thank you for the opportunity!