Barrick volunteer Devin Clary writes about Catherine Borg’s Untitled. The artwork is on display in the Barrick until November 26.
It captures a state of vague familiarity; eerie in the sense of a distanced though inherent conceptualization on the very fringes of intuition itself. Distanced in the fact that the at-first-seemingly only significant content is centered and obscured by the speculative role of outsiders’ eyes peering onto photos. Perhaps the borders are the apparent spaces of photos separated at the will of an intrigued person’s reminiscence, again, capturing that feeling, a feeling comparable to those accompanying the experience of the most memorable, vivid, and lucid dreamscape; or a somewhat prophetic Déjà vu. The piece has a subtle sense of eeriness, by default of the positioning of the lighter reflections on the doors, more apparent toward the perceptual proximity of the work, and, in continuity, toward the photo of the darkening hallway, perhaps an allusion to ill-fate or death. This makes the moment the piece captures static, a closed-dimension state of perceptual time frames. It limits the ability of one to explore the curiosity that the work provokes. The Post-it note labeled “pending” is bluntly interrupting some senses of conceptual or intuitional contemplation of the photos, with its reminding of us being constants to time, omitting any and all forms of romanticizing of presented abstractions. It contributes to the fact of how is, relative to how was. The work epitomizes esoteric abstractions rarely spoken of or identified, and the piece remains a concise medium to communicate perceptions that verbal language is rarely able to accurately and precisely convey.