In Art, QT Sydney, 28 October 2013
On Marion Borgelt’s website there’s a list of things that the artist’s work is about, including semiotics, language, optics and phenomenology. Her work draws “links between the constructed and the organic world, between microcosm and macrocosm and the ever-present duality of light and dark.” In essence, Borgelt’s work is about the full range of possible interpretations of her elegant and minimal art, simultaneously inscrutable in its beauty yet overflowing with potential readings.
For So Near So Far, her new show with Dominick Mersch and the opening show for the gallerist’s brand new space, Borget’s explores serial sculpture and repetitive forms in wall mounted pieces and paintings. The circle and the sphere are the central motifs, from the crystal ball-like series Tsukimi Swirl (2013), to the optically dazzling Liquid Light: Butterfly (2012) and the hatching eggs of Tsukimi Slice: Sequence B (2012). While the pieces remain static in the gallery space, the show suggests an interesting conception of time producing a metamorphosis of forms, all driven by a discreet and unseen force, as unstoppable as the rising of the sun.