BORAGE I. The Dinner
Textured Wall Art | Photographic relief in plaster | Unique piece | 90x60cm
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On a vast, wind-worn field of plaster, a dinner among friends — one of those first reunions with everything still to happen. The borage buds turn toward one another, everyone talking to everyone, voices rising, stories tripping over themselves as if time were chasing them. Around the table, immensity; upon it, joy. How much space does happiness actually need? A tabletop. Good company. This.
The story behind
The borage came from the fields around Sant Climent de Llobregat, in April 2017. It is a deceptive plant: it looks sturdy, but it loses its firmness within hours, so we hurried from the field to the studio, and the leaves — which are rough to the touch — had to be handled with gloves. We put the light directly behind the bunch, still closed, holding it up between the two of us: backlit, the velvety halo on every tip appeared and the whole bunch seemed to move at once. The image was born dark. Later we felt like turning it around and taking it to a pale background, the silhouettes now closer to an ink engraving: lighter and happier, which is how that conversation actually sounded. In the relief we made sure the leaves stayed like a shadow, without taking room from the bunch.
Borage
Borage (Borago officinalis), native to the Mediterranean, bears starry blue flowers and cucumber-scented leaves; long used in cooking and herbal remedies, it symbolizes courage and supports pollinators.
Think, plan, collect, select, position, illuminate, photograph and rework the image until it stops describing what was there and starts saying what we feel. That is the first half of the work.
Measure, mix, spread, shape, wait, smooth, transfer, merge, seal and sign. The matter completes the work.
Image integrated into the plaster. No paper, no film — what you see and touch is the relief. One unique image for each unique piece. Two-dimensional and three-dimensional. Nature that feels natural.
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ABOUT THE ARTIST
The artists play with the viewer's limit to recognize the photographed nature, they seek to suggest, to attract towards a bridge between the dreamlike and the real.
They make a study on sacrifice as a means of creation. The painful suppression of a part generates a new whole, a reality with unsuspected edges where subtracting gives us an unexpected abundance of beauty and visual interest. In a parallelism with time spilled in grey, boring or distressing moments that, in some way, give us a broader perspective of what it means to live and allows us to distinguish and covet the sweet stages.
Thus, in their photographs, the form faces a process of transformation, subjected to the dominion of light to be reborn in an unknown version. The volume is sectioned revealing silhouettes previously unnoticed. Different planes, different moments captured in the same vision.
At this point, the material aspect of the work plays a major role. There is a primitive emotional connection that artists ascribe to natural, earth-related, irregular and ancestral materials such as clay or plaster. This made it inevitable to embark on an arduous process of self-taught research, with countless trial and error until they were able to transfer all the power of their images from the screen to the plaster. Now, photography and volume merge into a single entity, in an unexplored materiality far from traditional supports.
