Fine art critics usually classify fine artists and their work into more or less conventional molds and clichés, labelling them with definitions of style, motif, content and such, while consciously ignoring the fact that every artist is an entirely unique and free individual. Pigeonholing and labelling artists with various -isms is therefore a rather risky undertaking.
An innate talent as well as a healthy creative ambition led painter Nene Borčilo to outgrow amateur self-sufficiency and enrol in Arthouse- college for visual arts in Ljubljana where she developed an utterly new view on fine arts and their varied expressive possibilities.
After successfully completing the course Nene Borčilo set the foundations for her work, organizing shapes into definite forms which reveal her mental, emotional and physical intervention. On the picture plane she tries to merge the most important elements to make a harmonious unity. On starting the painting she aims to create the energy of the painting which will convey its meaning and uses signs and symbols to show the viewers her mental associations without imposing her own view on them. She expects them to see the painting with their own eyes.
Frequently experimenting, she has created her own value systems and come to a conclusion that optical illusions are the key phenomena of a painting so she does not build pictorial space relying on the rules of perspective but with layers of translucent paints which catch light emerging from the background of the painting.
Drawing regularly appears in her work. Sometimes she uses it to emphasise spatial dimensions but most often she transforms lines into seeming, imaginary shapes.
She has created her own artistic expression relying on her respectful attitude to Slovene and other European masters of both contemporary and historical art while not copying but critically valuing it and drawing from her personal vision of painterly possibilities. Apart from applying paint on the plane in a classical manner she also makes use of less formal solutions. However, different technological approaches (tactility of collage, watercolour on canvas) are just a means to an end so shapes are more or less dependent on the material Nene Borčilo uses in her creative process. Painting as an expressive medium is more than mere transfer of visual phenomena on the picture plane to her. She consciously chooses to eliminate the details which are not essential carriers of her artistic idea and focuses entirely on the heart of the visible and the sensed.
The path to her artistic truth has not been easy or simple. In her search she has come close to nonmaterial painting, but remaining faithful to tradition she often weighs and tests her artistic origin and the meaning of her work.
The iconography of the cycle in question depicts an interesting narrative which begins with the genesis of our planet and continues with the development of various civilisations, cults and religions. Viewers will also notice allusions of cave painting, symbols of the Mitraic cult, Christianity and Budism, which could also be linked to astrology and ultimately with cosmic dimensions. Nene Borčilo suggests that the only solution to global problems of the modern world is peaceful coexistence of mankind which can protect us from catastrophic consequences and secure a stable future.
Jožef Matijevič, prof. umet. zgod. in zgod.