Bronze Buffalo Ranch is our club. It’s where I learned to golf… and, more importantly, where I learned to love golf.

During any given round, a 30 handicap can hit a PGA caliber shot, while carding an 112. It’s that one shot that keeps you coming back; that, and the people, the landscape, and that rare, endangered species… a birdie. There are indelible moments, when you look up from your ball and realize just how fortunate you are to be standing in one of the most breathtaking places in the world.

The 10th hole at Bronze Buffalo is one of those special locations — a par-3 featuring a stunning peninsula green, guarded by bunkers, and a wickedly deceptive approach. I’ll confess, there are at least 50 Borballs lurking beneath the liquid surface of this painting.

In June 2026, I returned to New York City to create the eighteenth painting in my twenty-year Guggenheim series. What began in 2009 as a single painting evolved into a long-term commitment: twenty paintings over twenty years, all centered on Frank Lloyd Wright’s iconic museum.

Working through intense summer heat and shifting conditions, I found myself increasingly drawn to the reflections of city lights along Fifth Avenue and the museum’s presence after dark. During the trip, a memorable conversation sparked a thoughtful analysis of both Charles Sheeler and Charles Demuth, whose ability to elevate architecture into something both monumental and poetic offered a new perspective. The result is My Guggenheim (2026), a painting that views the museum not simply as a building, but as an enduring American icon.

Originally painted in 1814 by Jean-Auguste-Dominique Ingres, Grande Odalisque remains one of the most discussed figures in Western art. Its famously elongated anatomy—both improbable and elegant—has fascinated viewers for more than two centuries.

That tension between distortion and beauty made the painting irresistible for reinterpretation through neon.

This work continues Borbay’s Re-Mastered Series, translating historic masterworks into contemporary visual language.

The project began during a conversation with a collector exploring a commission. They were initially drawn to Neon Girl with a Pearl Earring, which had already been placed, and suggested looking deeper into the series. I created a shared Dropbox folder and invited them to add works that resonated. When the file titled “Top_Fav_Grande_Odalisque_Ingres” appeared, the direction was clear.

Many Borbay paintings begin this way—through conversations with collectors that evolve into collaborative studio explorations.