Let’s talk about your latest exhibition, Basketball, Pickle, Router, Horse. It’s a wild combination of iconography, not because the objects are inherently wild, but because they take on this odd, funny internal logic when they’re brought together. Why these four figures? To state an obvious point, the four objects function as supports for the chair-table used to view the paintings, but they also reappear inside the paintings. SH. The iconography isn’t necessarily planned but

I first came across your work through your films. What struck me immediately was their tactile quality, how sculptural they feel, as though you’ve constructed a world. That world can take on a dream logic, however I don’t experience the films as strictly surrealist. The camera may move through what looks like a dream atmosphere, but the films might be doing something else at the same time. In the same breath, there’s a strong desire to peer into the matter of things, with han

It was at the Western Front in the winter of 2010 that I first saw Eli Bornowsky’s paintings in the exhibition, Walking, Square, Cylinder, Plane (26 November 2010 – 22 January 2011). At the time, I didn’t quite know what to make of them. The paintings seemed to move between two competing impulses, a painterly mark that felt personal, even expressive, and a countervailing effort to hold that expressivity in check through a more impersonal, structural logic. Only later did it b