At first glance, this display is captivating for the bold treatment of hues that evolve from daring reds and pinks to caressing and subtle lavender and lilac tones that quickly transform into many shades of brown. Equally exciting are the furtive greens, sometimes illuminated by an underlying glimmer that also infuses life into the earth colours that tend to dominate in Borg’s paintings. The blues state certain authority too as they are made to extend in varying intensities from an oceanic deep cobalt through to a rich cerulean and a light sapphire.

While enthralled by this chromatic verve, little is the viewer prepared for the exalting source of inspiration for these paintings: the Passion of Christ according to the Gospel of St John. Paintings referred as Red Square, Blue and Green and Blue Room together with the overall figurative language adopted by Borg would not remotely elicit any direct association with the Scriptures. Nevertheless paintings named Nicodemus, Jesus in the Garden or Crucifixion urge the spectator to look again carefully and begin to appreciate the tremendous impact of the contemplative oriented and not so historical account-based Gospel of St John on Borg.

Borg’s formation in theology, philosophy and psychology has reaped its fruit and obviously nourished his artistic talents. What has clearly intrigued Borg about the Gospel of St John is the way the events in Christ’s life are interpreted spiritually thus revealing His glorified and Divine nature. Moreover the evangelist’s figurative language proved to be particularly appealing and conducive to the artist in Borg. By means of this collection of paintings, Borg rouses the spectator to attempt to perceive his own comprehension, translated visually, of the Passion according to the Gospel of St John.

Channelled into plummeting rivulets, cascading steep verticals, gently colliding squares and rectangles that either emerge forcefully or recede softly, colours symbolically allude to sin, evil, optimism, hope and passion. In Blue Room, the effervescent and mosaic presence of the blues represent the infidelity of Judas. Jade greens, blues and a few patches of indigo in Blue and Green unite in a subtle conflict reflecting the tormenting internal struggle that St Peter experienced when he was put to the test and failed as he thrice betrayed his Master. In contrast to the darkness where sin reigns according to St John, the more luminous quality of the Crucifixion, Jesus in the Garden and Red Square convey significant messages of spiritual triumph and serenity. Suffering, pain and the shedding of blood is not what the crimson and cerise reds of Jesus in the Garden or Red Square connote. They project the emotional energy and vein throbbing passion of life, of Christ’s Passion.

In his securely held belief that art can act as an effective means for evangelization, Borg invites the viewer to brood over the profound levels that these paintings communicate while simultaneously quenching his parched spirit, caused by contemporary materialistic concerns.

The exhibition may be enjoyed at the Museum of Fine Arts, Valletta from 30 September to 22 October 2004.

Bernadine Scicluna M.A.