Bailly-Borg’s practice has taken shape through several media but without any particular hierarchy. These media run from drawing and painting on canvas to ceramics, fresco, and reverse painting on glass. In her work she makes a broad range of references collide, crash into, contaminate one another until they form a new pictorial and fictional space.​

The somewhat clumsy anthropomorphic forms she depicts inhabit different scenes; they adapt and try to situate themselves vis-à-vis the others, they try to be present. ​

Although these characters are based on different sources, their common point is their direct aspect, the effectiveness of line and curve, their timelessness and the question of physical love. The lines and the fluid curves that are akin to Persian calligraphy transform these characters into soft bodies, forms that verge on the earthworm. They are non-gendered but sexual, both men and women, and are interlinked in compact compositions in which the surface serves to limit their proliferation. Like bas-reliefs and medieval manuscripts, the content adapts to the form, the better to occupy the space effectively. ​

Carlotta Bailly-Borg (FR,1984), lives and works in Brussels. She graduated at the École Nationale Supérieure d’Arts de Cergy in 2010, and was an artist-in-resident in Le Pavillon, Palais de Tokyo (2013). ​

She was nominated for the 22nd Prix Fondation Pernod Ricard, Paris and presented her work at Fondation Vincent van Gogh, Arles / La Friche la Belle de Mai (2021) / Goldsmiths CCA, London / Efremidis Gallery, Berlin / Palais de Tokyo, Paris (2020) / Bosse&Baum, London / Island, Brussels / Fondation Ricard, Paris (2019) / Galerie Sultana, Paris / Baltic Triennial, South London Gallery et Tallinn (2018) / DOC, Paris / Studio Amaro, Naples / Attic, Bruxelles / CNEAI, Chatou (2018) / Karma International, Los Angeles (2016) / Espace II of Galerie Nathalie Obadia, Paris / Onomatopée, Eindhoven (2015).​