Gail Peter Borden I am a tenured professor, Discipline Head of Architecture, and Director of the Master of Architecture Programs at the University of Southern California School of Architecture and Principal in my firm Borden Partnership. As a fully licensed architect and practicing artist, my projects and work exist at a cross roads of art and architecture: large in scale, yet primarily artistic in approach. Through diverse media and specifically targeted series of public installations, my work bridges between the experiential and emotively perceptual nature of art and the rational tectonics of architecture. The massive scale of the architectural project emerges from the collaboration with places and communities exploring the potentials of space and interaction. The work exists at variable scales yet imbibed with the domestic referential vocabulary and functional associations and responsibilities of the object and context. Focused on perception, the positional and relative forms compliment material abstraction to produce sensorial effect. My work finds its unique nature in being highly architectural but simultaneously removed from the traditional constructs of architecture. There is an emerging generational shift in design culture from the pure abstraction of representation towards new practices that are engaged in the tactile world of matter. My work serves as a catalog of the new methodologies that have emerged out of this shift. Requiring the active participation of the viewer, each engenders a sensory experience of art that goes beyond the aesthetic to engage the material of space. The work allows for an extension of site based experiential considerations and infused a greater impact of the history of place. My work has received much notoriety [Chinati Foundation, Atlantic Center for the Arts, MacDowell Colony, etc.], but the ability to focuson larger installation projects has only recently been made possible.
Statement I love what I can afford to love. The act of making as a culture of production defines the artifact. The representative imagery implies a time and genealogy. The residues of a sketch are imbibed with the legacy of tradition and visual infatuation. Imagery, like subject, is the comprehension upon which modern criticism depends. The reference of imagery is threefold, loosely grouped under form, color and technique. Form remains innately personal to the creator. Association or recognition are actions mapped and extracted in a postproduction state. Such interpretations are critical decisions that remain separate from myself as the creator, and from the work as an independent entity. Figure defines a story: overt and hidden, complex and crass brought to the object through the interaction with the viewer. My paintings and drawings deal with the relationships of objects in space over time. Each object maintains an independent form, but the space and motion of the painting stems from the expression of the coupling interaction. Their origin remains personal and intuitive, but seductively suggestive. As shadows of themselves, their form masks their cognitive attachments and associations. They imply their space and place, meaning and association. Abstract and figurative the suggestive psychological intentions and interpretations let the view watch and be watched. Color as the primary recognition of form defines both the foreground subject as well as the recessional planes establishing the space, motion and mood of the painting. The energy of the mark leaves an archaeological explanation of the process and works to enforce the structure and emotion of the forms. My dance becomes ingrained in the composition. The color and structure of form stem from technique. The automatic instinctual state allows the struggle to be realized. The process embodies my release. Structure, stemming from the arm and eye, is realized in bold graphic forms. Like figures in a dance the spaces between are activated and animated. Formal creation exists in dichotomy being both improvised and planned in content, technique and method. Both methods consistently depend upon the essential forms of pictorial language. To paint for oneself is to find the self, That is the reason for the search in my work.