He's back! Yes, to our delight, Fabio Borg returns for his second solo exhibition at il-Kamra ta' Fuq. Tactum Aureum, curated by yours truly, will run until 9 March.
An artist who needs little introduction - but here's a brief one anyway! Borg studied art in Malta before spending several years in Italy, an experience that profoundly shaped his artistic development. He has exhibited extensively both locally and internationally, including a solo exhibition in Rome at his representative gallery, Galleria Vittoria on Via Margutta. His work draws inspiration from a wide range of sources, with his recent pieces shifting decisively toward abstraction. He has also been a guest on Italian TV art shows - special thanks for the shoutout to il-Kamra ta' Fuq during his last interview!
In January 2023, Borg's solo exhibition Moodscapes at il-Kamra ta' Fuq marked a radical shift in his signature style, transforming his iconic atmospheric landscapes into abstract emotional scenes. This evolution continued with My Point of View at The Phoenicia, curated by Prof. Charlene Vella. Now, with his 12th solo exhibition, Tactum Aureum - The Golden Touch, Borg takes his abstraction a step further, incorporating subtle yet striking "gold touches" while exploring a complex and thought-provoking concept through his distinctive style.
The concept behind these works is a deeply thought-provoking one. Borg challenges us to reflect on what truly matters in life - or what should. Drawing inspiration from the myth of King Midas, whose golden touch carried an unintended curse, these works remind us to be mindful of our desires and to weigh the consequences of our choices. In every piece, Borg introduces hints of gold as a nod to this myth, urging us to pause in the midst of our fast-paced, greed-driven lives, where we attempt to live multiple lives at once. He invites us to stop, reflect, and reconsider our values.
Emotion is at the core of these works. The hard, almost aggressive pencil strokes convey urgency, capturing fleeting moments and raw emotions that mirror the relentless pace of modern life. These dynamic, chaotic lines - akin to scribbles - exude tension, yet they are tempered by soft pastel tones that evoke resilience and hope, a reminder that "it can't rain forever". For Borg, these expressive marks are deeply personal, serving as a self-portrait - a record of his relationships, his identity, and his presence within his own journey.
The gold in these works varies in prominence; in some pieces, it is strikingly evident, while in others, it remains hidden, only revealing itself under the right light. This subtle use of gold symbolises how greed often lurks beneath layers of distraction, unnoticed until we take a closer look.
Selecting the works for this exhibition at il-Kamra ta' Fuq was no easy feat. In fact, it was impossible to "choose" in the traditional sense - every piece created specifically around the theme simply had to be included. The curatorial plan was mapped out months ago during a studio visit with Fabio. Yes, months ago - as I often say, if only more artists were as organised as Fabio! This contrast fascinates me: the raw, haphazard, aggressive energy of his strong lines in his works versus the calm, organised, and methodical nature of the "person" behind the "artist", subtly reflected in the soft pastel tones - I find it quite intriguing.
The titles of Borg's works play a crucial role in his artistic expression. Across his body of work, they appear in English, French, and frequently in Italian - a nod to his deep connection with Italy. While the pieces in this exhibition are open to emotional interpretation, Borg offers subtle insights into his own perspective through certain titles. Be thankful for what you've got is one such example - a phrase that speaks volumes. The composition features a "cluster" of soft yet striking pink, surrounded by greyish sections, suggesting that life's joys are often framed by its more challenging moments.
In other works, Borg references additional myths, such as in Go in Search of the Golden Fleece, an allusion to Jason and the Argonauts. Beyond its mythological roots, the Golden Fleece symbolises an ultimate goal - something highly coveted yet seemingly unattainable, requiring immense effort and determination to achieve.
Another work, similar in size to the one mentioned above, is Groundhog Day, which presents a large section of beautiful blue and green. The title hints at the artist's possible state of mind during its creation - perhaps a period where he felt trapped in a never-ending routine. Groundhog Day is often used to describe a situation in which the same unwelcome or tedious events seem to repeat endlessly.
In Blue Threads, we encounter electric vivid blue fine lines - delicate and precise - contrasting with the raw, thicker strokes seen elsewhere in Borg's work. These blue lines resemble the perfect under-sewing of a sewing machine, forming a rectangular-patterned "fence" that weaves across fields of colour, adding a sense of structure amid the expressive chaos.
Is Borg teasing us with hints of a landscape, or perhaps a seascape, in Shallow Ends? The suggestive title seems to evoke a sandy golden beach, represented by a large golden section of the painting, surrounded by blue "waters"... but perhaps that's just my own imagination.
Hymn of the Big Wheel, the only round work in the exhibition, references the song of the same name by Massive Attack. The lyrics, "For the big wheel keeps on turning, On a simple line, day by day, The earth spins on its axis, One man struggles while another relaxes" - reinforce the underlying theme of the relentless cycle of human greed.
Signes d'existence is the largest work in this exhibition, featuring three dominant colours - purple, turquoise and pink - that seem to repeat throughout the composition. Perhaps Borg is alluding to the three signs of existence in Buddhist philosophy: impermanence, suffering and not-self - reminding us that everything is subject to change, that dissatisfaction is inherent in life and that nothing possesses a fixed essence or identity.
To conclude, I would like to highlight the artwork Feeling that Matters, as I believe it hints at the next step in Borg's artistic journey. Having had the privilege of seeing some works from his upcoming series (the perks of being a curator), I suspect this piece was, perhaps subconsciously, the starting point of a new theme for Fabio. (Stay tuned!)
The exhibition is on until 9 March in Mqabba.
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Fabio Borg picture
Photo: Luke Cassar, Saint Elias College Student
