Carlo Borer develops his objects in virtual space using CAD. By means of complex method approaches in virtual reality and with the aid of high-tech tools such as lasers, though ultimately owing to his precise crafting by hand, his sculptures and installations come about in the real world.
When developing his objects, Carlo Borer puts to use knowledge gained from the theory of evolution and from neuropsychology, as well as from logical relationships that result from these. He scrutinizes the complex processes of human software. Borer uses materials and sometimes, everyday objects that are familiar to us, placing them in contrast to newly crafted bodies that approach an ideal form. From this, objects come about, which would seem to have a practical value. But Borer utilizes the technical perfection of his works as a means of deception. The viewer suspects that the object has some sort of use, though it is not possible to figure out what it is. The conflict that arises from this is intentional.
Parallel to this, Carlo Borer also creates his NoReadymades series and Spaceships, for which he lets himself be guided by things he finds, placing these then in a new context. The objects suggest a purported use, pretending to be utilitarian objects from a technically advanced civilization. But in doing this, they lead the viewer down the wrong track. Here, the aesthetics and technical perfection thus become a means of deception. What looks as if it were a Readymade is in reality built from imagination, constituting a reversal of the original process.
Carlo Borer, however, prefers to execute these works in hammered and polished stainless steel. Between the design and execution of the sculptures, a technological media translation process takes place from the contemporary computer application to a manual metalworking practice with a hammer that is a good 8,000 years old.
Since 1981 Carlo Borer has been working as a visual artist with exhibitions in Europe and the USA. His works may be found in private collections and in public spaces.