Kemal Seyhan describes his paintings using four words: horizontal, vertical, colour, intensification. During the painting process Seyhan restricts himself with a series of rules: He starts with black paint and a horizontally positioned canvas. He then meticulously applies the paint in straight vertical or horizontal bars. A painterly stratum is created on each canvas by kilograms of paint applied via thousands of spatula touches. The artist does not use his paint to define a space or create a 3D illusion, instead the canvas becomes an excelled surface that excludes everything other than its texture and feel from the viewer’s attention.
The graphite is a new tool, but the central concept remains the same. Both mediums build a strong communication with light, reflecting the colours of their environment and presenting a different chromatic scale depending on the viewpoint. The working/painting process is an inquiry session for Seyhan. He questions what he is performing as an artist/painter. The artist believes in the efficiency of repetitive acts; the repeating act of painting and moves of the body. With this, he imitates the nature in a way. Just like the layers of earth piling up on top of each other, he lets his experience, time and energy accumulate on his picture plane as the founding elements.
凯末尔·塞伊汗用四个词来描述自己的绘画：水平、垂直、色彩、强化。在绘画过程中，塞伊汗用一系列的规则来限制自己。他先在水平放置的画布上使用黑色颜料，然后他一丝不苟地将颜料涂成垂直或水平的直条。在每块画布上，通过数以千计的铲子接触，用数公斤的颜料创造出一个绘画般的地层。艺术家并没有用他的颜料来定义一个空间或创造一个三维幻觉，相反，画布成为一个优秀的表面，将其纹理和感觉以外的一切都排除在观者的注意力之外。
这两种媒介都与光线建立了强烈的沟通，反映了环境的色彩，并根据视角的不同呈现出不同的色阶。工作/绘画过程对Seyhan来说是一个探究过程。他对自己作为一个艺术家/画家所从事的工作提出质疑。艺术家相信重复行为的效率；绘画的重复行为和身体的动作。通过这种方式，他在某种程度上模仿了大自然。就像土层堆积在一起一样，他让自己的经验、时间和能量作为基础元素在他的画面上堆积起来。
