Bosco Sodi creates relief-like three-dimensional surfaces of profound organic beauty. His works are based on a variety of materials and strongly colored paints which he distributes across the canvas. The selection of brilliant colors and the colored pigments, for which he searches throughout the world, allow viewers to experience the artist's work with more than just their sense of sight. They transpose him to another place. Sodi 'composes' his pictures using vertical layers on the canvas and uses a mixture of pure pigment, sawdust, cellulose, natural fibers, water, and glue. He makes use of a very elaborate process to create a surface structure that is remarkably lively. He determines the outer frame, decides on the color of the pigments, and lays down the format of the picture carrier and the amount of material which he then forms on the canvas directly with his hands. But everything that happens after that is an independent process which the artist cannot influence. Although he always works with the same materials, what results are strongly colored monochrome virgin landscapes permeated by a profound beauty. The accompanying video shows Sodi 'constructing' the work ORGANIC BLUE - created in Berlin. Bosco Sodi (b. 1970 in Mexico City) lives and works in Mexico City, Barcelona, Berlin, and New York. With essays by: Agustin Arteaga, Marc Gisbourne, Bernado Pinto de Almeida, Lilly Wei, an interview with Robert Peterson
It starts with a simple idea: massive cubes of clay, half a meter high. The sculptures of Mexican artist Bosco Sodi (*1970 in Mexico City), cubes of fired clay stacked in high columns, ought to have exploded while being fired due to the extreme heat released in the material: sand, earth, and water. The richly illustrated publication on Sodi's Clay Cubes explores the course of his experiment. He worked for several months creating the cubes, from compounding the material through layering and forming to drying and firing them in a kiln built especially for this purpose. Piled up to columns in the exhibition, they resemble the proportions of the human body and at the same time create an architecture reduced to the essential. Each cube bears the traces of the work process, following Sodi's typical approach: the process of trying out and arriving as a result whose appearance he may influence, but not foresee.
62 dreams and prophecies of St. John Bosco and introduction to them, collected from the Biographical Memoirs. Foreword by Morton Kelsey on significance of dreams.
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