David Borgmann’s oeuvre impressively illustrates the continued relevance of painting. The bulk of his pictures, especially his latest series of textured landscapes, demonstrate that painting may be regarded as open-ended for the sole reason that it excels at beguiling the eye of the beholder. Proceeding with great care, almost in the manner of an experimental design with gradually changing variables, Borgmann explores the tipping points at which painting turns into illusionism. Combining flat and textured areas in a minimalist approach, the artist manages to create evocations of the sky, the sea, mountains, or cliffs. Other works conjure waterfalls, ice floes, or plants. With this method, Borgmann obliges spectators to devote all their attention to the paintings themselves – and to relearn to focus exclusively on what they show, concentrating on the qualities that slowly come to the fore after taking a closer look at his compositions.