Predicting the unpredictable 

Let’s talk about inspirations, socio-political issues and texture – all in one discussion. Bosco Sodi, a Mexican contemporary artist born in 1970, is known for his richly textured paintings and sculptures made from raw, organic materials like volcanic ash, clay and sawdust. His work, which spans across studios in Barcelona, Berlin, Mexico and New York City, is deeply influenced by the Japanese philosophy of wabi-sabi, embracing imperfection and the beauty of natural processes. Sodi’s artistic journey began as a therapeutic pursuit, evolving into a successful career marked by such pieces as Muro in New York’s Washington Square Park.

hube: What initially inspired you to pursue a career in art?

Bosco Sodi: For me, art is like therapy. I used to visit my studio two or three times a week to work on my projects. It helped calm my nerves. One time, we took some of my pieces to be framed in Saint-Germain-des-Prés, Paris. And when I came to pick them up, somebody told me, ‘Listen, there are a lot of people that want to buy the work that they have seen here in the frame shop’. That’s when I realised there might be a chance to make a living doing what I love most: creating art.

h: Your work often incorporates raw materials like volcanic ash and pigments. What draws you to these materials?

BS: When you work with organic materials like pigments, clay or volcanic rocks, there’s more chance of surprise. They are not as predictable as chemical materials, which have a very clear formula. Working with sawdust, clay and volcanic mix is more fun for me because the results are always unique. My work is about the lack of control, the passage of time and the accidents that make things unique and unrepeatable. Sometimes I work with old paintings, but I use raw, old sacks that already have a kind of universe in them. When I use volcanic rocks, I choose the ones I like and use them without changing their natural form. This unpredictability is what makes the process special for me.

h: Many of your artworks seem to awaken a sense of serenity and contemplation. How do you hope viewers will engage with your pieces?

BS: I hope my work, with its accidents and uniqueness, helps viewers reconnect with themselves, nature and other human beings. My goal is for people to feel humbled and see the temporality of life. I think it’s important now, more than ever, for people to reconnect with the Earth and themselves.

h: Your exhibition Rock and Roll – Bosco Sodi and Objects of Interests at Museu Casa das Rosas in São Paulo discusses themes of exploration, colonisation, and environmental impact. How do you approach these complex topics through your artwork, and what message do you hope to share?

BS: This exhibition continues the themes I explored in Venice, focusing on the movement of raw materials and the history of colonisation. Countries like Brazil and Mexico were exploited by conquistadors, and I want to highlight this history through materials like clay, sugar, salt and tobacco. For me, clay is essential because it unites humans; it’s part of our evolution. I also used sacks that carried precious goods from colonies to talk about coffee, sugar and gold. It’s about making people aware of the movement of these goods and the consequences of colonisation in a poetic way. 

h: Your artworks in this exhibition are titled with excerpts from rock songs, which have been used as cultural and political tools. How do these titles contribute to the narrative and meaning of your pieces, and what significance do they hold in the exploration of the geopolitics of the Americas?

BS: Rock’n’Roll has been a cultural movement with significant influence. When I was discussing titles with Marcelo Dante, the curator, I chose song titles spontaneously while listening to music. This abstract approach allows viewers to explore the work without being directed by explicit titles. I want viewers to think and rationalise the work themselves, rather than being given a clear explanation. When we did the mural in Washington Square Park, I realised that the interpretation of the piece belongs to the viewer. The viewers’ experiences bring their own meanings to the work.

h: Your sculptures often carry a sense of monumentality and timelessness. What significance do these qualities hold for you?

BS: Ever since I was young, I loved visiting archaeological sites in Mexico and seeing the stelae. These objects occupy a space and have a solid presence, which I believe is due to the energy of the material. I like to create solid objects, even though it makes them harder to transport because they have a stronger presence. This monumentality reminds us that humans are here only for a brief moment of history.

h: Sustainability and environmental consciousness are increasingly important in the art world. How do you approach these issues in your practice?

BS: I try to recycle materials as much as possible. For example, I use sawdust from local wood shops. Each type of sawdust reacts differently, making the outcome unpredictable. We also practice reforestation at Casa Wabi, compost everything and use solar panels. The main point is to create consciousness about the need to respect and understand nature.

h: What do you hope your legacy as an artist will be, and what message do you aim to convey through your work?

BS:  I believe human beings must help create a better world. With Casa Wabi and our social programmes, we aim to do that. My legacy should be about working hard and being a good father, friend and human. The long-term impact of my work is not for me to worry about; it’s about the seeds we plant for a better future.

h: What three words would you use to describe the future? 

BS: Challenging, promising, arduous. It will require a lot of work, but I believe in being positive about the future. Society should always look forward with hope and determination.