Mexican artist Bosco Sodi connected some time ago with “Wabi Sabi”. It is a rather complex eastern philosophy to explain here in a few words, but basically it defends life and aesthetics that accept transience and imperfection. Based on this idea, the artist has been working, over the last few years, based on materiality and the passage of time. His works displayed in the exhibition curved surfaces, at Luciana Brito Gallery, therefore, instigate us to think about the relationship between art, sustainability and society.
Interested in the potential of materials of natural origin and traditional Latin American concepts and values, Sodi says that he started taking art classes because he had dyslexia, attention deficit disorder and was hyperactive. “To me it is very important to touch these materials. Messing with the clay was the only thing that calmed me down. Art has always been therapy for me and that's why I've always been more involved in the process than the end result”, explained the artist in an exclusive interview with AQA.
It was most likely from this childhood experience that his now famous Perfect Bodies, spheres produced from blocks of clay extracted from the soil of Puerto Escondido, in Oaxaca, Mexico, where the artist was born, maintains Casa Wabi – artistic residency that receives creatives from all over the world. integration between creation, matter and nature. And the only requirement is that the artist develop a project that involves the local community, explains the artist. “Perfectly imperfect”, the sculptures are molded by the artist's hands, to then undergo a natural maturation process through drying in the shade and sun, in addition to burning in a rustic oven created by the artist himself. The idea is to work with unpredictability, lack of control and chance.
Bosco also explains that his charm for clay can be explained by the fact that the material used brings together the four elements of nature – water, earth, fire and air. “That makes it a matter directly connected with the essence of the human being”, sums up Bosco. By suggesting geometric shapes for such an organic element, the artist ends up proposing a counterposition, a friction. There is, here, a strong connection with strong movements of the 1960s such as the american minimalism, a Land Art.
The exhibition also presents two new textured paintings, made with organic materials and natural pigments, based on the artist's uninterrupted processes. The paintings also end up assimilating the casualties and transformations caused by time and exposure to natural phenomena, each one becoming unique.
During the pandemic, the artist took refuge in Casa Wabi, where after some time there were no more materials to paint. Observing the arrival of food in large jute bags, Bosco subverted the logic of traditional art and began to paint the phases of the moon and sun – which he could follow in that paradisiacal place. Thus were born the series Sun Paintings and Moon Sack Paintings, also present in the exhibition, which still carry the aroma of the peppers that arrived in Oaxaca.
Bosco ended up recovering, with this gesture, the directives of the Arte Povera: creating with “poor” materials, which are within reach, to instigate the art system and market itself. “It is interesting to think that Arte Povera was born in the post-war period, when the world was experiencing great uncertainty and overwhelming poverty. I feel the same has happened with this pandemic. So, we need to create with what we have”, he reflects.
Date: Until May 14
Location: Luciana Brito Gallery
Address: Av. Nove de Julho, 5162 – Jardim Europa, São Paulo
Opening hours: Monday, from 10 am to 6 pm; Tuesday to Friday, from 12h to 19h; and on Saturdays from 11 am to 5 pm