Interview
David Borg
David Borg ( b.1993), a resident of Lija, on the Mediterranean Island of Malta, intertwines the precision of structural engineering with the finesse of artistry in his diverse creative pursuits. It was during his inaugural year at the University of Malta, enrolled in the Diploma in Design Foundation Studies program, that Borg serendipitously encountered the captivating realm of woodblock printmaking. Under the mentorship of esteemed artist and educator Anabel Cordina, in the module titled “Introduction to Experimental Printmaking,” Borg found his calling. Captivated by the intricate processes and emotive potential of printmaking, he embarked on a relentless journey of exploration, swiftly making it his principal mode of artistic expression. Over the past twelve years, Borg has ceaselessly delved into the nuances of his chosen craft, continually pushing the boundaries of technique and thematic exploration. In 2020, he unveiled his inaugural solo exhibition, “Squisito Dolore,” meticulously curated by Pawlu Mizzi. This poignant collection of six colored woodcuts delved into the profound human quest for love and inspiration, intricately woven into each striking composition.
Building upon the success of his debut, Borg's exhibition in 2022, “Tempus Edax Rerum,” curated by Hannah Dowling, expanded his artistic narrative. Presenting a series of fifteen evocative woodcuts, the exhibition poetically explored the ephemeral nature of time and the eternal cycles of human existence. In addition to his thematic explorations, Borg has pioneered a distinctive approach, recognizing the woodcut plate as a work of art in its own right. Notable creations such as “Arte,” featured in the prestigious Sunday Circle Magazine. Other works have been featured in “Artist Closeup,” an international publication. In 2023, Borg ventured into the realm of curation, spearheading the captivating exhibition “Midst,” a multimedia showcase highlighting the diverse talents of five contemporary artists. His curatorial approach provided a platform for artistic dialogue and exploration. Continuing his trajectory, Borg's participation in the esteemed MIFA exhibition, “Myths and Legends of the World,” alongside two hundred printmakers from across the globe. Selected as one of the top fifty finalists, Borg's evocative contributions serve as a testament to his enduring commitment to pushing the boundaries of artistic innovation and narrative exploration.
What is your background and how did you start your journey in the art world?
“From an early age, my fascination with art and its historical significance ignited a profound journey of self-expression. Initially drawn to drawing and painting, my artistic odyssey evolved to encompass sculpting and mold-making, nurtured under the skilled guidance of the late Sonny Gatt at Ta' Qali Crafts Village. He was a lifelong mentor and artist friend supporting me in all my artistic ventures.”
What inspires you?
“I am inspired by the passage of time and how this generally affects human behaviour. The creative process often takes the form of automatic drawing when mark by mark the image starts to show itself slowly tapping into the subconscious. My art is usually a commentary on my state of being and directly influenced by experiences I would be passing through at the moment. The ideas then develop taking a unique meaning that is usually associated with a state of human being and usually tap and find parallels in other human narratives such as mythology and other literature.”
What themes do you pursue? Is there an underlying message in your work?
“The underlying message would usually be a commentary on human emotions be it love or hate. I am fascinated by the struggle of the human being to be in the world and to assert himself as an entity. I am also fascinated by the passage into the other world, seeing it as a portal into another dimension. Some of my works have spiritual significance and serve as portals that catapult us into another dimension that could be where we came from or where we are going. My art is usually based on answering and trying to make sense of the fundamental human questions about birth, death and everything in between. Such existential questions form the backbone of my artistic practice and the reason and driving force behind my art.”
How would you describe your work?
“My latest works evolve from the medium of woodcut printmaking. After my first two solo shows in 2020 and 2022, both held on the island of Malta my home country, I decided to evolve my medium and practice. Up until now, I had experimented with woodcuts, and printing on paper. I decided to take the wooden plate into the realm of fine art by becoming an object d'art in itself. ‘Horror Vacui’ is my third solo art exhibition, showcasing a collection of artworks produced between 2022 and 2024. The exhibition delves into my exploration of the woodcut medium, featuring pieces painted on birch plywood using a combination of acrylic and oil-based inks alongside various mixed media elements. Following the completion of the initial painting, I further manipulated the surface by carving and scratching, overlaying additional marks that either align with or counter the existing subject matter and patterns. The birch wood panels themselves are not merely supports for the artwork but are presented as pieces of art in their own right, arranged with intentional gaps between them that evoke the appearance of window panes. This arrangement symbolizes the metaphorical window through which I peer into my inner world. In ‘Horror Vacui,’ I explore the concept of the fear of emptiness, reflecting on humanity's inclination to resist leaving spaces unfilled or moments unoccupied. The constant urge to accumulate, express, act, and embellish serves as a diversion from confronting the inevitable reality of our mortality and impermanence. Comprising a total of 12 works spanning across 31 birch wooden panels of varying dimensions, the exhibition offers a profound journey into my artistic vision and contemplations on the complexities of human existence.”
Which artists influence you most?
“I have several artists that greatly influence my art practice. First of all, I find Michelangelo Buonarotti to be one of the greatest artists who ever lived in this world. His resilience and great determination apart from his immense talent helped him push the boundaries of art and a number of his works are seminal pieces in art history, sometimes completely changing the trajectory of art history. I also admire other artists such as Matisse and his use and selection of colour. Picasso and his sinuous and sure line. I also relate a lot to artists such as Gustav Klimt and Amadeo Modigliani and their portrayal of the female form. In the end, Edvard Much is an inspiration when it comes to the representation of human tragedy and existentialism.”
“My art is usually a commentary on my state of being and directly influenced by experiences I would be passing through at the moment.”
What is your creative process like?
“I usually get inspired by what I am going through and my human journey in the world. The creative process is very similar to the automatic drawing techniques that were used by the surrealists. I usually tap into my subconscious by drawing line by line and letting the image take form and I progress.”
What is an artist’s role in society and how do you see that evolving?
“The artist is very important for society as they are the link to the metaphysical. Most of the time people do not demand work from the artist, it's the artist who feels the need to express themselves and show their inner world. It is up to the viewers to interpret the message, all viewers will give their interpretation of their work based on their experiences and feeling at the time. The artist's role in society is to encourage people to tap into the subconscious to bring out beauty and healing and bring meaning to our existence.”
Have you had any noteworthy exhibitions you'd like to share?
“I have had 3 solo exhibitions in the part 4 years. My latest one is named ‘Horror Vacui’ took place at Splendid, an old palazzo in Valletta, the capital city of Malta. The works have been strategically placed to create an atmosphere and some of the works have been created with the site in mind. I also believe that the relationship between the artworks and the space that surrounds them is important and that an exhibition should be a story in itself and has a narrative that people can follow, understand and possibly identify with. ‘Fear of the void’ or ‘horror vacui’ is a concept that has been explored in various fields such as art, philosophy, and psychology. It refers to the fear or anxiety associated with empty spaces, silence, or the unknown. In art, ‘horror vacui’ is the tendency to fill every empty space with detail or decoration, often seen in intricate designs or patterns where the entire surface is covered with elements. This fear of empty spaces can be seen as a reflection of a deeper psychological fear of the unknown, uncertainty, or the feeling of being lost in a vast emptiness. In philosophy, the fear of the void can be related to existential concerns about the meaninglessness of life or the vastness of the universe. It can represent a fear of insignificance, of being alone in an indifferent or chaotic world. From a psychological perspective, the fear of the void can be linked to feelings of anxiety, insecurity, or a need for constant stimulation or distraction. It may stem from a fear of the unknown, a fear of losing control, or a fear of facing one's own thoughts and emotions in moments of silence or solitude. Overall, the fear of the void or horror vacui is a complex concept that touches on deep-seated human fears and anxieties about emptiness, uncertainty, and the unknown. It can manifest in various forms and can have different meanings and implications depending on the context in which it is explored.”
