Michael Borremans, Black Mould / Pogo (2015), via Art Observed

Belgian painter Michael Borremans has long mined the aesthetic moorings of antiquity for his work, creating meticulously labored paintings that owe much to 17th and 18th century painterly technique.  Originally trained as a photographer, Borremans’s craft is tempered by a notable scholarly, contextual awareness, frequently using his mooring in the present day to offer the occasional critique or inversion of his historical inspirations.  Such is the case with the artist’s most recent body of work at David Zwirner’s 24 Grafton Street gallery in London, a series of dark, occasionally disturbing pieces that use the painter’s signature style to amplify their surrealist aspects.

Michael Borremans, Black Mould / The Badger’s Song (2015), via Art Observed

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Michaël Borremans, The Knives (2010)

Michaël Borremans: The Devil’s Dress is the artist’s fourth solo exhibition at David Zwirner in New York. Borremans’ art is heavily influenced by 18^th and 19^th century artists, including Édouard Manet and Diego Valázquez, and his painterly style recalls works from both the Romantic and Realist periods. “One of the reasons I consciously chose to work in painting is that you can’t use it only as a medium. It has this historical connotation, and either you want [that connotation] or you don’t want it. So if you paint, you should make use of that. It’s inherent to the medium, and it’s very important. If you don’t want it, take another medium. It’s as simple as that. Therefore this dialogue with other painting is to me very essential,” Borremans said in an interview in 2007.

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Installation view

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