Thinking about the development of Borčić’s image a map can be helpful: the image changes as the earth’s surface does according to different projections and measurements. His
first maps represent the artist himself, boats, doors, recognizable elements of
the everyday world around. The scale of these maps is 1:10, 1:100 what enables
a quite simple recognition of the motif. Till the beginning of the nineties
Borčić’s prints near the zero point of space and time and when achieving the
state of singularity, the destination turns - the scale has changed.
His perfect mastery of the graphic techniques - etching, aquatint, dry point - can be
observed on the surface as well as in the image. It’s not coincidental that Borčić leans on the geometrical - scientific
language for that language is far more exact as that of the painting and
printing one. The number of signs is limited and they are all precisely
defined.
Borčić’s prints offer us a wonderful insight into the process of creating an abstract picture. The shell on
it changes into a dot through intermediate stages. The shell multiplies, small
shells cover the whole surface of the picture, the shell is hidden behind other
elements ... The rhythm of relations of
artistic picture elements is common to all the stages of the shell’s decay. The transformation of the dot continues till there is only a
line left on the picture, a black and a white field - and so an abstract
picture comes into existence. The precisely defined shell changes into a shell,
into more shells and in this way the shell becomes a dot (more shells become
dots). Out of these dots a black or
gray surface develops, that continues to live on the paper keeping up the
dialogue with the vast whiteness. Togheter they form a new sensation for human
eyes and offer them a totally unique experience.