Peripheral ARTeries meets
Bo Cosfranz Lives and works in London, United Kingdom
A London-based fine artist, working with acrylics, textile, print, and sculpture. I am exploring the concept of artificially imposing structure to organic elements through the extension of tangent lines. The organic parts of a painting may be shapes drawn from observation, or they may be created through the unstructured use of colour. I then impose a geometric framework onto the image by extending tangent lines out of the corners in the composition. Each piece of work thus results in a tension between the organic and the geometric parts. My motivation for this work is the idea of creation through constraint, by rules such as physical laws, internal thoughts, and societal regulations. I also apply these concepts to my process, by combining intuitive aspects with a strict set of unique rules for the creation of each piece.
An interview by Josh Ryder, curator and Melissa C. Hilborn, curator
Growing up in London has definitely influenced my artistic practice. We have the benefit of free access to lots of great galleries, so as a teenager I used to spend my weekends walking through the city and looking at modern art. I think that you will be influenced by what you are exposed to. For me, the most inspiring were the art movements of the early 20th century, especially cubism, futurism, and vorticism. It felt like these artists were combining a scientific approach to art with a liberated style of image-making to try to solve new problems. This is the same approach I try to follow in my practice. However, since it is around a century later, the context and the questions I am trying to answer are quite different.
firstname.lastname@example.org Hello Bo and welcome to Peripheral ARTeries. Before starting to elaborate about your artistic production, we would like to invite our readers to visit http://cosfranz.com in order to get a wide idea about your artistic production, and we will start this interview with a couple of questions about your background. Are there any experiences that did particularly influence your evolution as an artist? In particular, how does your cultural substratum direct the trajectory of your current artistic research?