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San Francisco

K. Imperial Fine Art

Exhibition Detail
Elements Of Day
49 Geary
Suite 440
San Francisco, CA 94108


April 5th, 2012 - April 5th, 2012
Opening: 
April 5th, 2012 5:00 PM - 7:30 PM
 
Colony # 3, GINA BORGGINA BORG, Colony # 3,
watercolor and ink on paper, 15"x11"
Colony #2, GINA BORGGINA BORG, Colony #2,
watercolor and ink on paper, 14"x20"
Colony #1, GINA BORGGINA BORG, Colony #1,
watercolor and ink on paper, 15"x11"
Sea, GINA BORGGINA BORG, Sea,
oil on canavas, 24"x24"
© © courtesy of K. Imperial Fine Art
Balm, GINA BORGGINA BORG, Balm,
oil on canvas, 20"x16"
© © courtesy of K. Imperial Fine Art
Empty , GINA BORGGINA BORG, Empty ,
oil on canvas, 40"x30"
© © courtesy of K. Imperial Fine Art
Danger, GINA BORGGINA BORG, Danger,
2009, oil on linen, 12"x12"
Indigo, GINA BORGGINA BORG, Indigo,
2012, oil on canvas, 48"x48"
Cinema, GINA BORGGINA BORG, Cinema,
oil on board, 12"x12"
Berg, GINA BORGGINA BORG, Berg,
2011, oil on linen, 30"x30"
© © courtesy of K. Imperial Fine Art
Blinded, GINA BORGGINA BORG, Blinded,
oil on canvas, 24"x24"
© © courtesy of K. Imperial Fine Art
Spread, GINA BORGGINA BORG, Spread,
oil on canvas, 40"x40"
© © courtesy of K. Imperial Fine Art
Meet, GINA BORGGINA BORG, Meet,
watercolor and ink on paper, 11"x15"
© © courtesy of K. Imperial Fine Art
Gallery installation shot, GINA BORGGINA BORG, Gallery installation shot
Gallery Installation Shot, GINA BORGGINA BORG, Gallery Installation Shot
Gallery Installation Shot, GINA BORGGINA BORG, Gallery Installation Shot
Gallery Installation Shot, GINA BORGGINA BORG, Gallery Installation Shot
Sunk, GINA BORGGINA BORG, Sunk,
2011, oil on canvas, 40"x30"
© © courtesy of K. Imperial Fine Art
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> QUICK FACTS
WEBSITE:  
http://www.kimperialfineart.com
NEIGHBORHOOD:  
Financial District/Wharf
EMAIL:  
meghan@kimperialfineart.com
PHONE:  
415 277 7230
OPEN HOURS:  
Tuesday - Friday: 11am - 6pm, Saturday: 11am - 5:30pm
TAGS:  
landscape, surrealism
> DESCRIPTION

With her new body of work, Borg works between transitions of light and dark, and subtle gradations of a singular hue while investigating what she calls: “the forces of nature that shift our experience.” Drawing from traditions of minimalism, geometric abstraction and her own light and perception studies, Borg’s paintings are reductive, yet poetic. While mostly abstract, these paintings reference the natural world and the forces therein, the result of “my years of studying nature through paint,” says Borg.

The work in Elements of Day tests the boundaries of vision and perception through process-driven experimentation with color, light and incremental shifts. Limiting herself to the tones and temperatures of just a few hues allows a very steady narrative of color and light to unfold on the canvas. Of her process, Borg says: “I give myself parameters against which I can work, breaking down and mutating the tones and temperatures of just a few colors, in order to better understand the perception of light.” The paintings are the nuanced, tactile remnants of slowing down the speed of perception and her investigation into how light dissolves boundaries. 

 


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