Vian Borchert

Vian, your paintings declare themselves as visual poems, which suggests not illustration but a transfer of poetic logic into pigment. What, for you, is the equivalent of syntax in painting: the cut, the line break, the enjambment, the caesura, the moment where meaning does not resolve but deepens through suspension?

Beautiful question. As a visual artist and an award-winning poet, I have always wanted my work to carry a lyrical flow and be presented to the world much like a poem: suggestive, mysterious, yet rich with substance and meaning. The syntax in my painting is not found in literal commas, pauses, or grammatical shifts, but rather through imagery, composition, balance, movement, and, of course, color theory.