The Plan, no. 11, 2018

by Teresa of Arruda, from Berlin, September 2018


Artist Isabelle Borges living in Berlin for two decades presents her solo show Synthetic Fields designed for the Emmathomas Gallery under the curatorship of Ricardo Resende. This is your return to São Paulo after the solo show Arrow of Time (Arrow of Time) held in January 2013 at MUBE – Brazilian Museum of Sculpture and Ecology, in São Paulo.

The artist remains faithful to the expansion of painting, which she worships in spatial interventions, collages and objects arising from her pluralized vision. Isabelle Borges' painting exalts subjective and organic elements delimited by shapes, traces and defined contours, creating its own dynamics and dialogue between the work and the public through its involving character as in a three-dimensional or even sculptural image.

His production is guided by trends based on the Brazilian and German artistic tradition, such as concretism and its infinite conceptual and aesthetic unfolding. The concretism that emerged in Europe and reached its peak in the 60s when Max Bill was teaching at the Ulm School of Design reached Brazil almost simultaneously and was propagated by and craftspeople places like Lygia Clark, Amilcar de Castro, Franz Weissmann and Lygia Pape.

The Plan, no. 11, 2018. Acrylic on canvas and installation

Concretism is full of reasoning and science, characteristics also visible in the paintings made by Isabelle Borges who have math calculations as the foundation of her work, like an origami. This folding technique has even stopped being propagated by artisans in recent years in order to serve science, technology and industry, such as the professorship created at MIT, the renowned Massachusetts Institute of Technology, which disseminated this technique through a specific program of computer formalizing a new principle of mathematics creating specific tools so that the world can “unfold” more effectively.

Circle, no. 5, 2018

Em Synthetic Fields the viewer is welcomed by a vast ephemeral spatial intervention conceived for the gallery space and at the same time acting as a support for the paintings that complement it. Little by little, the pictorial elements create autonomy and can be observed in isolation. In them, traits, colors and shapes complement and oppose each other, expanding their area of ​​action through reflections, shadows and unusual planes as in the tale Jardim das paths by Jorge Luis Borges who inspired it where supposedly all interpretive paths are provisional and plural at the same time.



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