Bosco Sodi: Sisyphus

In “The Myth of Sisyphus”, Albert Camus locates plenitude within the hero’s eternal labour: the ascent, the descent, the perpetual return. “One must imagine Sisyphus happy,” he wrote.

Bosco Sodi’s practice inhabits this same existential terrain: a primordial dialogue with raw matter—earth pigments, volcanicite, natural fibres, and clay—where process supersedes outcome and accident becomes methodology.

Across four floors of Sabino 336, “Sisyphus” reveals the fundamental polarities of Sodi’s oeuvre: luminosity and shadow, the celestial and the telluric, genesis and entropy. Like Sisyphus in his descent towards the boulder, Sodi returns ceaselessly to the creative act. Within this eternal recurrence also emerges an absolute surrender to gesture and materiality.