Seven new graphite paintings by the Mexican artist Bosco Sodi focusing on material exploration, creative gesture, and transcending conceptual barriers.
Bosco Sodi (b. 1970, Mexico City) is known for his richly textured, vividly colored large-scale paintings. Sodi has discovered an emotive power within the essential crudeness of the materials that he uses to execute his paintings. Focusing on material exploration, the creative gesture, and the spiritual connection between the artist and his work, Sodi seeks to transcend conceptual barriers. Sodi leaves many of his paintings untitled, with the intention of removing any predisposition or connection beyond the work’s immediate existence. The work itself becomes a memory and a relic symbolic of the artist’s conversation with the raw material that brought the painting into creation. Sodi’s influences range from l’art informel, looking to artists such as Antoni Tàpies and Jean Dubuffet, to master colorists such as Willem de Kooning, Mark Rothko, and the bright hues of his native heritage.
6-10 Lexington Street, W1F 0LB 6
September – 4 October 2013
Opening: Thursday 5 September, 6 – 8 p.m
Pace is pleased to present Graphein, the first solo UK exhibition featuring new works by the Mexican artist Bosco Sodi.
Focusing on material exploration, the creative gesture, and the spiritual connection between the artist and his work, Sodi seeks to transcend conceptual barriers.
Graphein features seven graphite large-scale unique and unconventional monochromatic paintings created this year, and continue Sodi’s use of pure pigment, sawdust, wood pulp, natural fibers, water, and glue.
Sodi does not use a brush, but constructs the works directly on the ground referencing Jackson Pollock’s action paintings. Once the controlled methods of creation have ceased, these canvases go through a drying process in which external factors, due to the location of his studios, alter the appearance of the sculptural relief of his canvases. A plethora of tiny cracks and large fissures appear in the surface creating a monochromatic terrain that resembles the scorched earth. The lack of control of the formation of the cracking plays an important role in Sodi’s creative process, leaving any interpretation to the viewer.
Each of Sodi’s paintings is a summary of his memories and collective experiences, made present by a direct method of creating, which demands his full physical and emotional participation. “Sodi’s personal aesthetic view is realised through an arduous physical processing and manipulation of materials. But at the same time further characterised by their being inseparably embedded within the creative phenomenological intuitions that the materials are able to both generate and revivify. It is a personal equation where past and present experiences and associations are brought each time into a unique state of provisional internal unity.” as critic, art historian and curator Mark Gisbourne explains.
Graphein references the Greek origin of the word graphite and functions as an assertion of the painting's physicality without reference to ideas beyond the viewer's experience of the work's immediate presence. Sodi leaves his paintings untitled, with the intention of removing any connection beyond the work’s immediate existence. The work itself remains, and is a memory of the conversation with the raw material that brought the painting into being.
Sodi’s works tend to defy any categorisation but are influenced by movements such as l’art informel and colourists such as Willem de Kooning or Mark Rothko. As Gisbourne writes, “any attempt to simply reduce the artworks of Bosco Sodi to material visual analysis alone is largely to misunderstand the creative nature of their contents.”
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