SEAGER presents Palace of Magnolia and the Landscape of Notification  exhibition by multidisciplinary artist Louis Pohl Koseda , which explores how digital color perception has changed landscape painting and  how the computed environments changed our perception of reality.

In his first solo show at SEAGER, Koseda shares a collection of works as part of an exploration practice, and method of unpacking colour relationships as cognitive stimuli, which arise from over thirty years of digital life.

In today’s screen-centric world ,notifications evoke sensations unimaginable a century ago. The digital landscape alters our color experiences, with screens showing only a fraction of nature’s green and blue often serving as organizational backdrops.This shift gives the opportunity for a new genre of painting: the landscape after the notification.

The exhibition delves into the cultural significance of the colors adjacent to online life, like the colour Magnolia, which gained popularity in the early 2000s as a “secret color” that could enhance property value. Developers credited Magnolia walls for their success in selling and renting properties, leading to their ubiquity in rented living spaces. This era also saw parallel cultural shifts, including the rise of online life, dopamine addiction, and anxiety.

In his ‘magnolia palace’ Louis uses the iPad paintings and ink drawings. The artist unlocks how Magnolia rooms, and working cafes became a shared material culture in the UK, embodying a sense of place and identity.  

The exhibition also examines how computer games have introduced new mass methods of interpreting flat images. From 3D platformers to first-person shooters and RPGs, by offering a way to read images that traditional painting does not fully explore these games provide cues for the views that can be used in contemporary painting. Using the techniques trained from computer games, figurative painting now grants viewers a sense of place within the image.

“Palace of Magnolia and the Landscape After Notifications” challenges the notion that post-internet art is limited to 3D renders or paintings of digitally altered photographs. Instead, it recognizes that the dots and lines on phone screens, while visual, are ultimately color. By acknowledging that our phone addictions are essentially color addictions, the exhibition offers a pathway to reclaim focus and ideate ways to restructure our relationship with the world through the use of color.

Louis Pohl  Kozeda  (b 1991) studied Architecture at the University of Sheffield before completing the postgraduate programme at the Royal Drawing School in 2023.

Koseda’s interdisciplinary background is reflected in a range of awards spanning art and architecture, including the Christie’s Award (2023), the RBA Rising Stars Award (2024), and earlier distinctions such as an RIBA MacEwan Award and Civic Trust Awards. In 2025, Koseda presented his debut solo exhibition, The Dawn of the Golden Age, at Christie’s London, marking a significant milestone. Last year, his work featured in group exhibitions at the Design Museum, London (Artificial Show), the Walker Art Gallery, Liverpool (John Moores Painting Prize), Saint James’ Palace (The Power of Drawing), the Royal Society of British Artists Annual Exhibition at the Mall Galleries, and the Royal Drawing School Alumni Summer Show in Shoreditch. Koseda’s work has been shown internationally, including at the British Pavilion at the Venice Biennale (2021).

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