In Cross of Ashes, Svitlana Lushnikova presents a powerful installation that explores the tension between destruction and preservation. This symbolic piece, displayed within La Borne, a mobile gallery designed by architect Bertrand Penneron, features a single charred wooden cross with the figure of Christ left untouched. The stark contrast between the burned cross and the preserved Christ reflects the religious and cultural complexities in Ukraine, offering a nuanced commentary on identity and faith amidst conflict.

La Borne—a travelling art installation in the Centre region of France—serves as both a constraint and an opportunityfor Lushnikova’s work. With its compact space (8m² of floor area and 6 metres of walls), the gallery invites intimate public engagement, much like window-shopping, where art becomes a part of the everyday environment. This mobile format aligns with Lushnikova’s mission to make art accessible beyond traditional gallery walls, reaching diverse audiences as it moves through urban spaces.

The burned cross, illuminated within the darkened interior of La Borne, is a deliberate artistic choice. It symbolises the destruction of cultural and religious ties, particularly those between Ukraine and the Russian Orthodox Church, while the unscathed Christ figure suggests that faith and identity endure even when institutions falter. The lighting within the compact space enhances the emotional weight of the installation, inviting viewers to reflect on the fragile balance between cultural survival and loss.

Lushnikova's use of the Shou Sugi Ban technique, where wood is charred to preserve its essence, adds another layer of meaning. This approach reflects her broader exploration of Slavic folk traditions, with previous works focusing on wooden lacework (rezba po derevu) and the ornate nalychnyk window frames that symbolise cultural protection. In Cross of Ashes, the technique intensifies, creating a raw metaphor for survival through adversity—a statement on how identity can be transformed but never obliterated.

Exhibiting this work in La Borne’s mobile format deepens the installation’s significance. The gallery’s open access and public-facing design invite spontaneous interaction, mirroring Ukraine’s ongoing movement towards cultural independence. Just as Ukraine navigates the complexities of distancing itself from Russian Orthodox influence, the mobile fixture reflects the fluidity of identity in times of upheaval, both symbolically and literally through displacement caused by conflict.

Visitors encounter the installation through La Borne’s large bay windows, creating a visual experience that mimics the act of window-shopping. This form of passive observation becomes a moment of quiet reflection, where the work engages viewers without the need for formal gallery spaces. The minimal presentation—a burned cross juxtaposed with the unblemished Christ—heightens the emotional intensity within La Borne’s small, intimate setting.

Though the limited space of La Borne may restrict prolonged engagement, it also amplifies the metaphor of isolation and fragmentation—a theme central to the Ukrainian cultural experience today. This distance between viewer and artwork reflects the current struggles within Ukrainian society, as it seeks to reclaim its cultural and religious autonomy while navigating political and social challenges.

In Cross of Ashes, Svitlana Lushnikova demonstrates how traditional craft can intersect with contemporary political and cultural narratives. The burned cross stands as a profound metaphor for Ukraine’s struggle for independence, while the preserved Christ figure offers a message of hope and resilience. By bringing this installation to public spaces across France, Lushnikova extends the impact of her message, reminding us that faith and identity endure even amidst destruction.

Location:
La Borne, Centre Region, France
Dates:
31 August – 27 October 2024