The layers of a slow process

Joshua Borkovsky lives and works in Jerusalem, a place that has shaped his presence as a painter, photographer, sculptor, and installation artist since his early studies at the Bezalel Academy of Arts and Design between 1973 and 1977. His hands move through a process that feels more like composing a musical score than simply applying pigment to a surface. He often works with seven semitransparent layers of paint, building up oil on canvas until the surface appears smooth and polished, almost as if it emerged without human touch. This method creates an effect similar to photographs being developed in a darkroom, where images gradually appear through light and chemistry.

The work often moves in cycles, where one painting differs only slightly from the next, creating a sense of time standing still. In his Mirror (Floor Reflection) cycle, he traces the reflections of geometrically patterned floor tiles. He uses simple shapes like squares and triangles to create arrowheads or diamonds at the interface of tiles, introducing a quiet movement to the display. There is a specific rhythm to these pieces, a cadence that requires the viewer to stay put and witness the moment when a hidden presence opens up.

Patterns and shadows

His imagery pulls from various sources, including silhouettes of sailing ships, cartographic lines, and geometric forms. Some works, like those in the Dream Stone cycle, explore the meeting point between glossy and opaque graphite surfaces to create abstract landscapes. In other instances, his work takes on a more structured, almost mathematical quality, reminiscent of visual puzzles that trick the eye through depth and perspective. He has also explored themes related to the Annunciation, using a pentaptych to represent stages of spiritual and cerebral states through varying shades and cross shapes.

The physical making of these works is hidden beneath the surface. While the finished pieces might look effortless, they are the result of meticulous, slow craftsmanship. He has even used leftover materials from earlier cycles to create the Remnant cycle, which consists of small, concise works that resemble haikus. This habit of returning to the material shows a commitment to the lifecycle of his own practice.

Recognition and teaching

Beyond the studio, Borkovsky has shared his practice through teaching, joining the faculty at Bezalel in 1979 and lecturing at the Art Teachers College in Ramat Hasharon. His academic path included an MFA from Hunter College in New York between 1980 and 1981. His work has been presented in several international settings, representing Israel at the Paris Biennale in 1982, the Venice Biennale in 1986, and the São Paulo Biennale in 1991.

His career includes several notable milestones:

• The Dizengoff Prize for painting, awarded in 2013.
• A large-scale retrospective exhibition titled Veronese Green at the Israel Museum, Jerusalem, which featured works from ten different cycles.
• Finalist status for The Adi Prize for Jewish Expression in Art and Design in 2003.
• Numerous solo exhibitions in galleries such as Noga Gallery in Tel Aviv and the Jerusalem Artists’ House.