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The artist is not polite with subjects, materials or paint. She makes herself comfortable with categories, procedures and styles. She likes to combine different periods and techniques in the same painting. Collages, assemblages and grafts are never here at the service of any formal beauty, because what is important is the intensity of the image, that is to say, the final putting into orbit of its fundamental impurity. Bailly-Borg is not interested in the hackneyed debates about figuration and abstraction: unlike Gerhard Richter, who makes this distinction in his work, her paintings bring these two pictorial regimes together without any shame, without the slightest shadow of guilt. Heterogeneity, contamination and proliferation are at the heart of this practice, which is free from any formalistic ideology, although passionately attached to forms. Generous and open to all possibilities, Carlotta Bailly- Borg’s paintings are never deprived of impoliteness.
Carlotta Bailly-Borg's work features fluid humanoid creatures, whose nebulous sensual bodies flow together. Her praxis encompasses ceramics and painting, on glass, paper, and canvas. The inspiration for her at times grotesque figures comes from medieval medical drawings, Greek mythology and old Peruvian ceramics. A recent series of work are ceramics in the shape of amphoras and reliefs, as well as paintings.. Works such as Cul de Sac I and Uterus, are unfired vases which were dropped on a hard surface and the subsequent new form has been given an identity by Bailly-Borg by scratching faces into the whitewashed clay.
