It was at the Western Front in the winter of 2010 that I first saw Eli Bornowsky’s paintings in the exhibition, Walking, Square, Cylinder, Plane (26 November 2010 – 22 January 2011). At the time, I didn’t quite know what to make of them. The paintings seemed to move between two competing impulses, a painterly mark that felt personal, even expressive, and a countervailing effort to hold that expressivity in check through a more impersonal, structural logic. Only later did it b