Stefano Bosis is one of those individuals who was always destined to become an artist, I would even go so far to argue he could only survive to work as an artist.
Born in Milan, Bosis who lives and works in Berlin holds a University degree not in art but in Digital Communication and Programming, forced into it by his worried father, as his son had spent an alarming amount of his time as a teenager hanging out at the Atelier of the then-emerging Egyptian artist Gamal Meleka who had worked for a few years in Milan to develop his own individual style. For five years Bosis notoriously persistent would take in everything he saw like a sponge, learning especially about colours from Meleka. He picked up the techniques of drawing while spending some considerable time living with street artists on Barcelona's Ramblas, learning from the artists who would draw tourist portraits on the asphalt.
Images by Martin Peterdamm
Words by Esther Harrison
In collaboration with coeur et art
Needless to say, the duration he worked in the Programming Industry after University was unsurprisingly limited. One day at work, it so happened that Bosis threw the Computer he worked on out of the window. “I felt like living in a box.”
It marked an obviously final point to his career in Video Animation and he threw himself instead into art, his true passion. Ten years later, Bosi's works have been exhibited in solo and group shows all over Europe. Bosis who is stimulated mostly by the Greek and Indian mythology is a ferocious reader and enjoys also “smart little essays on time” like “The Elegance of the Hedgehog” by Muriel Barbery. He loves philosophy and is a big fan of the contemporary philosopher Armen Avanessian who opened his mind to reflections about our time in general and the perception of our presence in this speculative time in particular. We have met up with him in his Berlin studio to experience his latest works in which he is working on the topic of paradises, but also to catch the first glimpse on a very special book he is working on!
Stefano, first of all, which of these elements (space, air, fire, water, earth) would you choose in relation to your practice and yourself, and why?
Air, definitely air.
I spend most of the time in my studio that is on the top floor of a 5-floor building in Kreuzberg, Berlin. From the window of the studio, I see the roofs of Berlin and I love the feeling to be up there, it looks like problems and difficulties are left down in the streets.
So yes, the air element is the element I would choose. Air connect what you can see, the land, with what we can just perceive, space.
The same way I see myself and my practice as a painter, between spirituality and matter, creating reality from what is not real.
What motivated you to become an artist besides your love for colours and drawing?
The real world inspires me, which unfortunately is also made of suffering.
70% of the population is starving and the other 30% is on a diet, for example. All that I see, all that I read, led me to an empathic state that led me to an experience, a journey inside me, which made me decide to use my energy and my time to become an artist. Because art can scream against indifference, help change and elevate souls.
Do you consider yourself spiritual and how does this feed into your work?
Oh Yes, I consider myself spiritual.
Spirituality is the way to be connected, to receive, like a radio that gets signals from everything that surrounds us. If you have long antennas you get more inputs.
In my work, spirituality is the base everything starts of, where ideas come from and ultimately find their place in the painting.
I consider art a metaphysical act because you create something that wasn´t there before, and every act of creation creates a consequence of energy. Spirituality helps to understand and guide this energy.
The first humans in the stone age, in the past, used paintings and sculptures to attract, to create the events, they wanted to become reality.
I learned from a tribe in North Columbia when I was in the jungle, that for the first men drawing animals in caves, art had a metaphysical function and the artist was a shaman.
Bosis was invited for an art residency in Colombia, that he actually never attended, because when he arrived there he decided to explore the city and the surroundings, hiking and talking to the people. After that, he went on a Central America trip on his motorbike, where he followed the path of the Indios, “discovering an ancient world called “The Jungle”. It made me jump into the lost paradise, realizing that we don’t need many objects to live and thrive if we are surrounded by nature.”
Stefano, you are currently working on a book, please tell us about it.
Yes. This new book is a book that actually nobody can read. It is written in a language that doesn’t exist, based on a code I developed, accompanied by illustrations, suggesting the existence of an irrational space that cannot be explored through science, computers or technology. Proving that art can drive the viewer to a new unknown experience.
The images are so strikingly instant, on point, they seem to trigger a hidden truth we instinctively connect to, like a memory of the future we all carry in us?
Yes, the images have an important role in the book. Some images reveal real things and other images that lead you to discover remote, unexplored territories. All are together at once, in the past present and future time. The most important thing is that you get what you want to see, or better, what you're unconscious decide to recognize.
Where are these images exactly coming from?
Basically, most of them come directly from dreams, the same dreams in which I got the first five characters of the language that it is in the book.
I just remember the images and the story of them after waking up. Other times, they come directly from my imagination when I am in front of the book.
What else are you currently working on and what you are looking forward to this year in terms of upcoming exhibitions?
I am looking forward to several group exhibitions coming up by the end of the year, such as a group show in Palazzo Ducale near Modena Italy, by the Federico Rui Arte Contemporanea gallery. During the Berlin Art Week,
I am part of the Augmented Dream Exhibition, at Kunstraum Bethanien. In this show, which is curated by its artists, which are beside me Marion Fink, Michel Lamoller, Miguel Rothschild, and Gonzalo Reyes Araos we will reflect about our time as we find ourselves at the brink of an important change where digital creation coexists with a non-digital physical. What will happen and how will we think in the future?
Will we be living in an augmented dream?
There’s no better way to describe Natalie Moses’ latest single than with its own title, “Windy Vanity,” other than maybe “rainy mania.” With haunting vocals over a trap beat, the Queens native perfectly encapsulates a feeling we all know too well: being crazy stuck on someone and the inability to shake it.
As she dancings around, trapped in a high rise loft with floor length windows looking out to grey and rain, the accompanying music video gives modern rapunzel vibes. Except instead of being trapped by her fat king husband, she’s trapped in her mind. In this case as the lyrics, “Call me, I want you to calm me,” convey, it’s a very specific kind of mind spiral. The kind where you’re stuck in cycles of obsession and unrequited love.
“One can become so engulfed by desire and heartache, that it consumes everything and sweeps you like a strong, uncontrollable wind. It can go so far as to enclose you in isolation, make you bedridden, and bring you to renounce your world, all in devotion of the dream that will never manifest,” writes Moses.
A far more grounded aspect of the single? A portion of proceeds raised by the bandcamp release are being donated by Moses to two community orgs. The first is the Herbal Mutual Aid Fund, founded by Yves and Good, which provides free herbal care to Black folks. The second is founded by Natalie Moses herself. Court Square Justice, is an initiative started to organize the Queens community in the fight for Black lives.