Pato Bosich
A hero's genius and a journey of levitated fascination, with Pato Bosich.
How are you? How has your own creative practice and others' art kindled your life force lately?
I'm well, thank you. It is rather difficult to distinguish between my creative practice and my life and its forces; they are so intertwined that I mostly think they are the same. Whenever I go through any amount of time not creating, I feel as anxious as to realize that I have no choice. “You only know your fate when you fight it”. Being the autumn in London where I reside, my creative activity has been marked by that melancholic and inner focusing that the season invites, something has gone underground and a fire light must be guarded from going off, from the cold and darkness. Other's creativity, though, are always immensely important, starting with the dancing and painting of my partner companion who brings fluidity, the richness of texture and colour and the proximity of someone dear whose work makes one’s own breath better. Also, the Dead, whose works are always alive, have a constant and comforting whispering to me, mostly through museum visits, books and weekly drawing hours at the British Museum.
If you were on a magical quest to create a new masterpiece and could choose any other artist, alive now or from the past, to create with, who would you choose and why?
Most likely Vincent Van Gogh, rather than working with him on the same canvas, I fancy I'd have him around in the studio and, of course, go for a long walk to talk and share about so much… then later, give him love, food and support …and a canvas for him to work on! I feel him as a soul brother, and his work is always close to my heart; to have him around will undoubtedly bring something which I also have but I am not aware of.
In your dream world, what would be your ideal space/setting/stage to showcase your work? Please describe.
I guess at the British Museum. I have spent so long there working away, interacting through drawings with the many artefacts and ritual marvellous presences…perhaps an installation around it, not next to the pieces but near…a very big amount of them in the central court, it will be great to collaborate with a curator at the museum who is a supporter and with whom great display ideas could be imagined.
If your gallery exhibition sold out and you could keep only one piece, which would it be, and why?
Now that I am a bit older, I think I could let it all go and not feel bad about it! It is also rather reassuring that the best works are the ones that usually sell. But if I had to pick one, it would need to be one which I feel opens doors to future explorations, such as ‘man in the high castle’. In the case of the drawings, there are a few which I have no idea why they came about as they did, and are irreproducible!
What does nature's creativity mean to you?
A complex and fascinating question. It means everything. At best it means that I am part of Nature’s creativity; therefore, whatever I might paint or draw aims at doing it with the forces that inhabit nature. We often lose that connection with the cosmos, and it’s a never-ending spiritual task to reconnect. I am also very aware of a paradox, that to be close to it one must go against natural impulses in oneself. To spiritualise matter, the artist’s task, one must go deeper than appearances; one must find one's own 'theme ', and it must be lived but at the same time be brought about to a beginning, which nature is always departing from. There is no end to such a process.
As a future ancestor, what words of awareness would you share with future generations?
We have to leave something behind! I am afraid I agree with the sages of old who insisted that knowledge is not transferable; therefore it will need to be art, hermetic, beautiful and strong, so that future generations will have a mystery to help them along as I have been helped by them.
Find Pato on The Directory to read his bio and discover his work in depth directly via his website: https://patobosich.com
Comments