In her predominantly abstract works, Isabelle Borges explores patterns and structures she encounters in the visible world. Its main focus is on the geometry of the spaces between things and the resulting special dynamics. It generates pictorial spaces that expand and contract evoking moving space tissues.
Borges is heir to many strands of the tradition of abstract art. The Brazilian neoconcretism movement had an important influence during its time studying in Rio de Janeiro; the New York School and some European artists of the 50's and 60's were of equal importance. Like many artists of his generation who work with abstraction and geometry, Borges feels no dogmatic commitment to purity of form and non-illusionist space. The spatial illusion and flatness of forms are in constant interaction in his works. Shapes are not constructed from purely pictorial elements. Borges is often inspired by seemingly random structures she encounters in the urban environment, in nature or in the mass media. The range of his work is broad in both aesthetics and content, addressing historical allusions, perceptive experiments, discursive interrogations, and purely subjective approaches.
Her most recent series of paintings and collages is mostly based on photographs, in which she has reduced the representational validity of the portrayed objects to the maximum. Borges makes use of lines, shapes, composition structures, and opposing surfaces to create something new. The interaction between the lines and the planes creates visual spaces that no longer look like the inspiring photos.
Abstract paintings in the Simulations series are complex constructions of intertwined / tangled shapes and contours. The color highlights certain shapes and separates them from the ground, sometimes evoking comic shapes or futuristic architecture. Depth and volume are the result of folding, stratifying, overlapping and rotating surfaces - or, as Borges explains, “folding moving surfaces”.
In the "Windows" series (Windows), Borges employs only a few intersecting color lines to create structures that articulate through finely coordinated red, yellow, blue, and gray. Arched shapes appear to float on the unpainted canvas. It is as if we are looking through a telescope: pictorial space seems to contract and become denser.
In Borges's expansive mural for a wall of the Kogan Amaro Gallery, she sought to generate dynamic spatiality simply through the power of the line. By modulating the amplitude, density, and tension of the line, it has created highly charged internal and external surfaces.
Brazilian artist Isabelle Borges was born in Salvador in 1966 and has lived and worked in Berlin since 1997. After studying social sciences in Brasilia, she joined art school in Rio de Janeiro and Düsseldorf. She has had several solo exhibitions in Europe and Brazil, including the Brazilian Museum of Sculpture and Ecology (MUBE) in São Paulo (2013), and the Republic Museum / Catete Palace in Rio de Janeiro (2000). Borges' works are on display at the Oscar Niemeyer Museum as part of the 14th Curitiba International Biennial of Contemporary Art (2019-2020). It is also present in important and diverse institutional and private collections in Brazil and Germany.