The exhibition shows a group of new works, Photomorphosis photographs, from the Mirrors, The Garden (3) cycle.
The works of this cycle have been evolving over the years and The Garden motive is central to them. The fields of meaning of the reflection, the echo and the repetition are fundamental to the images that are embodied in them.
Reflection is a repetition. The echo and the repetition structure, writes Hagi Kenaan, embodies “a possibility that the recurrent and repetitive appearing of the identical – of what looks the same – nevertheless consists in the new and the unexpected. More specifically, what the Mirrors, The Garden cycle of works presences“is not only the principle of repetition, but also the very existence of a dimension of difference. Without such a difference, the homogeneity of the self-identical would leave no room for the possibility of repetition. Repetition requires a difference (or, in philosophical language: the difference is a condition of its possibility)”. This means that repetition, or reflection, which is essential to the Mirrors, The Garden images “never appears as a mere duplication, but always already bears within it the echo of a difference that has inscribed itself into the movement of repetition”.
“Repetition is a movement that creates change and development while internalizing the law of the constant. This means that at its base repetition sustains an irresolvable tension between change and fixation, between heterogeneity and homogeneity. As such, repetition has two apparently contradictory aspects: on the one hand it creates a movement from the one to the many and, beyond any particular multiplicity, to the infinite; but on the other hand, the very condition for this movement – its modus operandi – is its surrender to the absolute hold of the One, the constant, the unchanging. Repetition, or reflection, is a kind of development whose fundamental form of appearance is the manifestation of that which remains itself”; Mirrors, The Garden.
*This exhibition completes Borkovsky’s comprehensive exhibition, Veronese Green, held at the Israel Museum last year, on which his works in the field of photography wasn’t included. The quotations above are taken from Hagi Kenaan essay, “Joshua Borkovsky: Painting as a Meta-Optics”, written for the exhibitions’ catalogue.