The artist divided the image field with colour rectangles of various dimensions, which he positioned in such a way that they resemble a chair, which is also reflected in the work’s title. The title Chair, of course, should not be understood literally, as it is simply the consequence of our way of looking. There are five paintings with a similar motif, composition and format in the Museum’s collection.

In its composition building, the work is a reference to prints from the cycle Shells from the ‘70s. At the time, he often created prints by cutting up the already printed plates, which he assembled so that the diagonals created the illusion of space.

In the painting Chair, the colour rectangles are assembled in a similar way as the earlier printing plates, but this time he was no longer interested in the illusion of space, only in colour and the relations between fields. Admittedly, the painting does create an illusion of space as a result of diagonal lines. These diagonals create a dynamic field of entwinement, in stark contrast to Borčić’s paintings of the previous decade, which were characterized by static compositions.

Text: Jernej Kožar