I’ve written a review of Vancouver artist Eli Bornowsky’s recent show in Toronto, soon to appear in the on-line edition of Canadian Art. His small works had wooden spheres, some drawn over with lines, attached to shaped supports. There are many interesting scientific connections possible, bubble universes for example. I once heard Leonard Susskind talk about strings (information about the physical world) curled up, or tangled up, on the surface of a black hole. In the review I was critical of the way the support plane kept the works pictorial despite the space activating potential of the spheres, and suggested that it would be better to make them larger and let them hang free. Now I’m having second thoughts. With my interest in Frank Stella’s work with volumes added to planes and planes added to volumes I should have been more sympathetic to Bornowsky’s efforts.
The surface of a sphere is a great support for painting, although I’m not sure why. I have made works like that. Because of the way that a sphere closes off it is also cut off from everything around it, but it compensates for that with its own infinity because it can’t be seen all at once. A composition can only be seen partially and sequentially as the sphere spins or the viewer moves around it. It is limited but infinite, as maybe art is anyway. I would still like to see them big, big…three foot spheres with support scaled up accordingly. Mounted on a planar backing the sphere can’t spin, but it might do something interesting.