Bosco Sodi’s work is rooted in the dialogue between material, process, and place. With Folegandros, created on the small Cycladic island where he and his wife, interior designer Lucía Corredor, have built a retreat, the artist extends this philosophy into a profound collaboration with landscape and climate.
The eight works shown inYo vi la luz exemplify this commitment to simplicity and locality, which mirrors Sodi’s studio methods, in which the environment is never incidental but instead dictates the outcome of the work.
Installed within the gallery’s architecture, the paintings emphasize their dual identity as objects of material presence and records of natural process. Bosco’s passion for spearfishing around Folegandros also resonates in these works, whose deep blues, fissured textures, and organic forms evoke the sensation of looking underwater — like glimpses of submerged rocks, marine growth, and the hidden topographies of the sea.
In his own words, “I try to involve a lot of the earth, and the rocks. They dictate the outcome, totally.” Though he employs a consistent formula of sawdust, pigment, and binder, each work evolves differently depending on the conditions of its making. On Folegandros, the porous climate, mineral-rich dust, and rhythms of drying leave their imprint, producing cracks and textures that could not occur in his studios in Brooklyn or Berlin.
For Sodi, the process is paramount. Accidents, uncertainty, and the passage of time are not obstacles but collaborators. He often notes that he can recall where each painting was made by its surface, and signs works with place rather than date. In Yo vi la luz, this rootedness is explicit: the paintings bear the Folegrandos’ signature as much as the artist’s.
Ultimately, Folegandros collapses boundaries between art, architecture, and life. The retreat, the studio, and the paintings are inseparable parts of a single project: to live with the earth, to accept its accidents, and to let material and environment shape what emerges.