FUNDAMENTA I / 11
BORONDO – Fundamenta I / 11
Cyanotype, screenprint monotype, and gold leaf
on Fabriano Artistico Traditional White paper, 300 g.
and screenprint on plexiglass
145 x 105 cm, 2022
LIMITED EDITION OF 20 / Each one is a unique edition
Produced in collaboration with 56Fili during
Borondo’s Open Studio Residency at Varsi Lab
The “Fundamenta I” series is derived from a photograph taken by Gonzalo Borondo that he defines as the still image of a “vision”. It is a snow-capped mountain with trees in the background which, when illuminated by light, emanate a powerful spectrum of colors. The red signs on the trees compose a progression of numbers that, at first glance, seem to create a horizon line that blends into the natural picture. Looking closely, they instead reveal the passage of man and of his becoming part of the immortalized landscape.
This vision has stimulated Borondo with new reflections on the relationships between human beings and nature and between reason and instinct, in which he reads a possible reconciliation between forces that are increasingly in conflict with each other.
Classical architecture imitates the functions of nature, but its means of expression are forced by geometric canons and references that bring the human intellect hierarchically in the foreground, with the intent of subduing and controlling the randomness of everything that is not human.
Sacred sites are no longer natural spaces in woods, plains, and mountains, but become constructions erected in the likeness of man; a tree becomes a column, the sky becomes a roof and the earth is separated from human feet, detaching man and nature in an increasingly unbridgeable manner.
Borondo, therefore, decides to reconstruct the vision that touched in him the hope of a new dialogue, a new coexistence, and empathy that we have forgotten but which is essential to recognize ourselves.
Through different techniques and their combination, Borondo, together with 56Fili, reconciles randomness and rationality without trying to overlap one with the other.
He characterizes opposite elements and creates new links between them: trees and caryatids, archetypes and their anthropomorphic evolution, origins, and their evolution into humanization. In the middle, all of these elements’ numbers appear to unite what has been separated for centuries.
Caryatids are reproduced in series through screen printing. They bring forth human rigor, the univocal vision of a pre-established order, and communicate at the same time, without hierarchy. The accidental style of the monotype speaks to us of a variety of solutions, evolutions, and changes typical of the natural order of things, imagining a time in which woods will become again sacred places and in which man will find a way to welcome unpredictability without fearing it.
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