"Ash" is the coexistence of two antipode concepts, it is like lighting a candle in a cemetery and choosing to lay it in an empty niche waiting for it to become.
The beginning the end is the beginning the end is the beginning the end is ... "
With these words Spanish artist Gonzalo Borondo recounts his work CENERE, realized within the funeral chapel of the cemetery of Selci, in the province of Rieti, for the PUBBLICA art residence, presented to the public in May last year. Borondo is an urban artist much appreciated at European level. Born in Valladolid, Spain, since 2011 lives in Rome; its art is vibrant and intense, as when it uses its technical feature of glassscratching, which consists of covering glass panels with white paint, then scraping the surface with brushes and punches.
The journey that Borondo offers us coincides with his will to accompany us in a more intimate moment of sharing, transforming the intimate Selci chapel into a mysterious goal of pilgrimage to art. In this place, for almost two years, the artist has spent most of his attentions, working to avoid returning visitors to a place where the link between man and art is clear.
A complicated intervention that the 8 great paintings, born to describe the different ways of man, add as many suggestions provided by the 8 glass slabs on which he dominates the first symbol of lifeless life, the candle, and that protect and complete those spaces most precious painters. The circular wall that delimits the chapel exudes a disciplined scale of gradients that from the white monolithic floor rise up to connect to the dark grays of a Renaissance painted sky and then close in a sophisticated central area made of pure gold leaf.
Different disciplines have found a dialogue thanks to the light that the artist has imagined as a necessary combination of the cold of the painting and the warm carnations of the luminous beams surrounding the profile of the great central cross and the door designed specifically for glass and wrought iron from which natural light comes in. The work was finally defined thanks to a clay artifact that surrounds the chapel in the top recalling those who will live that place as "The end is the beginning"
During the inauguration was also presented the object of art that contains the textual, visual and material memory of the project: a wrought iron box, made by the same hands that erected the door of the chapel, where are preserved the suggestions, images and materials that articulate the complexity of the place.