Eight years ago, working in his studio in Barcelona, Bosco Sodi accidentally dropped a bucket of his sawdust, pigment and binder mixture on the floor. ‘I didn’t have time to clean it because I had to leave for vacation,’ he recalls. ‘When I came back it was all cracked, but I liked it.’
That accident became the artist's Pollock moment. He’s spent the ensuing years exploring a material obsession with craggy, volcanic paintings – some made with 30 kgs of saturated pigments sourced on travels to India, China and Morocco – that reference everything from Donald Judd’s minimalism, Jay DeFeo’s abstractions and land art pioneers like Robert Smithson.