In deep discretion of white non-color, by delicately weaving the spatial
drawing and modelling the untouchability of the picture, Borkowsky
approaches us with a poetic minimalism. Eugen's works harmonize by means of
rythm of suppressed acoustics in complete white and the complete pure.
…Clear verticals articulate themselves as graphemes under the burden of
lightness in their meditated versions. The text is created from the curved
handwriting of a thin,delicate and porous wire page up to the forms which in
his case reach an ideogramic status.
…Bound to the estetic, bound to the sharp gesture of the natural cut (for
example a branch) in accord with tree tops, clouds and meditations he
generated from an abstract game, from the autonomy of self-expression to the
respect of his own language where he put his faith and which now
communicates in return. In a word, this is mature, explicit, sublime poetics.
…When we discuss Eugen's new cycle, we discuss whiteness. Silence. Curvature.
The only concreteness of the world, which appears as an illusion, which
warms along the void of coldness, which buckles with virtuosity with every
new moment into its anthitesis. It is a misterious path from a snow flake to
frozen ice covers, a misterious path of a language that never says anything
specific, yet is recognizable in every language in the world: white!
…''Cobwebbish'' rooms of solitude and wakefullness, are beyond the world in
wich the artist participates but renounces with the first contact with
shaping,drawing, speaking, colouring and non-colouring.
Ph. D. Nataša Šegota Lah
If we adhere to the thesis that a noticable number of works by contemporary
artists are sensitive to the ecological and the meditative component of the
artistic creation, then we will recognise the ambiance of Eugen Borkovsky as
work that, with exceptional synchronicity, feels and fits into the present
moment of art. Namely, after years in which the artists had, more or less
rigidly in a single dimension of works, emphasised the
ideological-socio-political energy of one's own work, parallel with that ,
some ten years ago a big come-back of land-art happened as a basic need for
a direct involvement of nature in the artistic concept.
Borkovsky's ambiance leaves a lot of open questions: does nature around us
today have to be so artificially polished so it can once again gain the
observers attention, or are we actually standing in front of an artificially
created installation of nature because something else will cease to exist in
the future? In another, more optimistic interpretation, this ambience, with
it's tactile quality and exeptional sensibility for a great range of light
and shadow effects which are created by the forms of branches and nets in a
pure gallery enviorment, offers what we could call the ultimate virtuosity -
the level of mastering the relationship between the work and the gallery
space in which the work and the space are perfectly joined into an
inseparable, interdependant relation in which everything is
visually-spatially explicit. Subject to deferent interpretations, this
installation is deprived of every pretenciousness and hermetic
pseudo-intelectual connotation. While simultaneously rendering the pure
visual and spatial beauty of forms, and the simplicity of an encompassed
estetic picture, precisely through which, the artist reaches the ultimate
contemplativeness and meditativeness, regardless whether it is real or