22nd September 2015, Fine Art. Michael Borremans, 'Four fairies', 2003, Oil on canvas.

The films, paintings, and drawings by Belgian artist Michaël Borremans overwhelm the viewer through the use of deceleration, precision and vortex. His seductive works contain timeless images of inner drive and external force, of the latent pressure involved in being human. Behind a veil of stylistic perfection, the artist simulates common rituals of interpretation and meaning. His intensely atmospheric images are puzzles involving political and psychological patterns of perceiving the world, which oscillate in a camouflaging, fragile way between inexorable realism and nebulous distance.


David Coggins: There’s a mystery in your paintings that a viewer wants to solve, but it can’t be solved. You invite people in but make an image that’s ultimately unreadable. Is there a tension that you’re looking for?
 Micheal Borremans: There’s a dichotomy—there are two poles and you’re in between them. There is a tension, but it’s not a game—it’s like research.


Magic is a basic and accessible subject/material that is often used in art. Borremans' 'Red Hand, Green Hand' indicates a slight movement, demonstrated by a subtle blur. This inflicts a sense of unsureness, fluidity, and ephemerality. Hands are an extremely ordinary subject, but the context that they are in, is fairly bizarre and raises questions. Borremans deliberately withholds information, and secrets are indicated at. 


© Harriet Grace Abbott, all rights reserved