Bosco Sodi intentionally includes flaws in his art, which we find appealing. Recently, we discussed the exhibition “The Silence of Form” at the Sevil Dolmacı İstanbul. During our conversation, we delved into the philosophy behind the artist’s work, which he describes as a piece of nature. The exhibition continues until Oct. 28.
There is a certain philosophy behind your artwork. Can you share it with us?
The Wabi Sabi philosophy, which originated in Japan, greatly influenced my work. The philosophy is about embracing the uncontrollable passage of time, uniqueness, and the unrepeatable nature of things. The process of creating art is significant to me, and I do not have complete control over the outcome. Wabi Sabi is all about accepting the impermanence and imperfection of life and nature. I create artworks that mainly center around nature, using organic materials. The beauty of imperfection is what fascinates me, and I appreciate the beauty that is “imperfect, impermanent, and incomplete.” The fact that one cannot control the outcome makes it all the more meaningful. Things are always changing, and we must accept that we have no control over them.
Do you mean that you are uncertain about the final outcome?
I don’t worry about what the final result will be. Instead, I try to fully embrace the process of creation. The most important thing to me is that I can’t replicate the outcome; this makes the process fascinating and appealing. Even if I control the size or shape of the painting, I still don’t know what the ultimate result will be. It’s impossible for me to create the same thing over and over again. It’s impossible to replicate an artwork despite its value.
So, your philosophy also makes your artwork unique?
Absolutely! Every piece of work I create is unique, with no set rules to follow. I don’t know how it will turn out in the end, so it’s important to let go of the outcome. Above all, it’s crucial that my work isn’t repetitive – everything I create is one-of-a-kind.
Given that your artworks are heavily influenced by nature, what is your perspective on the current climate crisis?
I believe that the most crucial aspect of art is to address societal issues and create awareness about them. My work primarily focuses on nature and the organic nature of the material, which allows me to delve into the importance of nature. In my opinion, many artists overlook this aspect of their work. While there is a lot of political art, art that touches on issues of race and gender, there simply isn’t enough art that raises awareness about nature, climate change, our relationship with nature, or even our relationship with each other as human beings.
So, your work primarily focuses on nature and our relationship with it, correct?
Yes, my work has a relationship with nature, and has a correlation with nature. I delve into the relationship between us and nature. Many people say this to me: when they look at my works, they feel the nature and organic essence of nature. Because just like nature, my works are organic and spontaneous, giving you that feeling. My works also have a meaningful stance in terms of having a better relationship with nature, the universe, and ourselves. And I think this is very important for the present world that we are experiencing. It should be much more approachable by artists.
Will we see your signature works at your Istanbul show?
As this is my first show in Istanbul, my aim is to showcase a wide range of my work. The exhibition will feature both new and old paintings, as well as gold columns, which will help the viewers gain a better understanding of my art. Whenever I work with a gallery for the first time, I try to present the largest possible spectrum of my work, so that visitors can comprehend the essence of all my pieces and what they represent.
You are from Mexico, which has a rich culture. Do you get influenced by other cultures?
Mexico has a rich and vibrant culture that is hard to avoid being influenced by. It is similar to Turkey in that it has its own unique craftsmanship and a rich history. Whether consciously or unconsciously, one cannot escape the colorful culture and history that surrounds them. This can be both a positive and negative thing.
Your exhibition in London, titled Yugen, explored philosophy. What will be the title of your upcoming exhibition in Istanbul?
Yugen refers to the beauty that is beyond words. Istanbul has earned the nickname “The Silence of Form”. I prefer to use titles that do not reveal too much about the show. I do not want the viewers to make assumptions about the paintings or the works. As humans, we can be lazy, so I choose abstract titles to avoid this.
What does ‘The Silence of Form’ talk about?
It discusses the quiet nature of my artwork. My pieces lack loud and flashy elements, and instead aim to be calm and understated. This is why I prefer to use abstract titles, rather than attention-grabbing ones. By doing so, viewers are less likely to form preconceptions about the work before seeing it.
Could you please share how you got into art?
When I was young, I was diagnosed with dyslexia, hyperactivity, and attention deficiency. My mother, who is a philosopher, enrolled me in art classes as a form of therapy to help me stay calm. It was during those art classes that I discovered my love for creating art. Art has a calming effect on me and allows me to connect with myself. It’s like medicine to me and has become a necessity in my life. I consider myself very fortunate to have found this passion.
Can we say that you are attempting to simplify the aesthetic by incorporating a language of minimalism and dematerialization?
That’s why I prefer to refer to my style as such. I work exclusively with natural materials, in contrast to American minimalism which often uses plastic. Additionally, I incorporate human-made materials into my work, which sets me apart from other minimalists. I focus on the process of creating with my hands and embrace imperfections, rather than striving for a perfect finished product like many other minimalist artists.
As an artist working with raw materials, one never knows what the end result will be. Do you have a specific image in mind?
The creation process is crucial. Everything happens during the process. I can decide on the color beforehand since it depends on the pigments I use. However, there are times when I start experimenting with other pigments, and something entirely new emerges.
What type of materials do you use? Are they created in-house?
I prefer using sawdust because it’s an organic material that offers a unique texture and appearance every time. Each type of sawdust varies depending on the tree it comes from, the pigments it reacts with, and the water or other materials it blends with. When I collect sawdust from carpenters, I’m always surprised by the type I receive. It takes me approximately 5-6 days to create a work, and I let it dry naturally. When the first crack appears on the painting, I know it’s time to stop.
You have studios in different places. How does traveling impact your art
I have a studio in Oaxaca and another one in New York, but my main base is in New York. My artwork is heavily influenced by weather, climate, and humidity. For instance, if I paint the same piece in Greece, New York, or Mexico, the outcome would be completely different due to the unique environmental factors in each location, such as the water and weather conditions.
Although your works are intuitive, do they require understanding or emotional connection from the viewer?
I aspire to create artwork that is as simple and elegant as a sunset or a beautiful tree. My approach involves avoiding the use of complex concepts, and I never sign my artwork on the front; my signature is always on the back. I prefer to keep my artwork as straightforward as possible, and this means avoiding complicated elements while I work.
Will this be your first-time visiting Istanbul? Can we expect to see the city’s influence in your Istanbul show?
I have had the opportunity to visit Istanbul several times, and I absolutely adore the city. It’s incredibly chaotic, but that’s part of its charm, and there’s an abundance of energy that’s infectious. Although I don’t consciously measure the influence the city has on me, I’m sure that I’m unconsciously influenced by it. Sometimes, I might see something that resonates with me and stays in my memory, and I may express that memory in one of my paintings.
You have land art projects. Which do you prefer: gallery or outdoor work?
I find the outdoors to be more exciting than staying indoors. Whether it’s a forest, a beach or a desert, I always try to get as much freedom as possible. I prefer being in nature because it helps me understand how the world and other natural elements correlate with each other. Therefore, being in the desert or forest is particularly interesting for me because it is nature within nature. As my work focuses on light, shadows, passing time, weather, and changes, these environments provide a great source of inspiration.
You just mentioned the passage of time. How does this concept influence your work?
I am focused on the concept of time. It is fascinating to see how time changes and affects everything. This leads to imperfection, which I believe we should embrace. The process of change is inevitable, and it is what makes us human. We must understand that our time here on earth is limited, and by doing so, we can live a better life and create better relationships with nature.
As once Joseph Campbell said; ‘It is the imperfections in life that make it lovable. How did you come to this mindset?
I have a great passion for reading philosophy, and I firmly believe that our time on earth is fleeting. Therefore, it’s our responsibility to leave the world a better place than we found it. As you pointed out, life’s beauty and interest often stem from the unexpected twists and turns that arise.
