By Miriam Eleonora Barosco
Lumps of matter and colour, to which stratifications are often to follow, resulting in cracked surfaces. Red sculptural volumes, either on canvas or in the form of objects, inhabit the surrounding space with their presence.
A taste for indefiniteness characterizes Bosco Sodi‘s brand-new work, reminding of the intermediate stages throughout the elaboration of its pieces. The field is partially left blank with the desire to mediate a conversation between the material and the immaterial, the visible and the invisible.
These fine examples conform to the lexical requirements of Art Informel, recalling some Herman Nitsch‘ and recent Anish Kapoor‘s series for their usage of the painting media. Bosco Sodi’s relentless use of the pure pigment red, in combination with water, glue, and dust, powerfully traces the memory of time. Differently from his predecessors whose language assumed the appearance of blood coagula on an anatomical table, he modulated this non-representational discourse into geological forms.