In his new exhibition Joshua Borkovsky exhibits new paintings from the cycle Echo and Narcissus and photographs from the cycle Paris Notes.
The exhibition will also launch the artist’s book Joshua Borkovsky: Notebooks #3,#4

Borkovsky's work predominantly features phantasmagoric imagery, such as the silhouettes of sailing ships and the cartographic images in his paintings of the early 1990s. In later years, this preoccupation yielded crystal chandeliers reflected in mirrors, and his current anamorphic photographs of gardens. Borkovsky’s art demands the viewer’s active presence and concentrated observation, leading him, paradoxically, to question seeing and to doubt the truth in what was reflected.
The same is true of the paintings on view in the present show. The diptychs from the Echo and Narcissus cycle (oil paint and gold leaf on canvas) maximize the characteristic abstraction, concentration and reduction of Borkovsky’s work but, as told by its name, the cycle is encoded with figurative image; the most abstract state is also the most figurative. Narcissus reaches awareness, self-awareness, only through his reflection, and Echo is present in the world as a reverberation, a repetition. The pool reflects Narcissus to himself; Echo reflects the other. The viewer can be either Echo or Narcissus, or both at the same time. He is also challenged to charge the paintings with his own reflections. Thus the paintings themselves turn into the pool in which the viewer, every viewer, becomes Narcissus.