8 Questions with Bo Cosfranz

Bo Cosfranz was born in Yugoslavia in 1987. She moved to London in 1993, where she currently lives and works as a fine artist.

Her focus is on painting, with style developed through a background in textile, printmaking, and sculpture. Learning these techniques has shaped the way that she sees, as they require the artist to think about areas of color and a reduced palette. Bo treats paintings in the same way, with discrete areas of color and hard-edged shapes.

Bo’s work is based on extending tangent lines from corners to create a contrast between the organic and geometric aspects in each piece. The organic parts are usually shapes drawn from observation, but they might also be created through the unstructured use of color or loosely drawing an abstract shape. The geometric aspect is a linear framework imposed onto the image by extending the tangent lines out from the corners in the initial composition.

Bo’s practice explores how people experience the world, in particular our relationship with rules. She is motivated by the experience of how individuality can grow within a rigid framework of laws and expectations and how, in turn, this regulatory framework can be shaped by creativity. She applies these ideas to her process by combining an intuitive approach with a strict set of rules for the creation of each painting.

cosfranz.com | @cosfranz

Artist profile, Bo Cosfranz©

ARTIST STATEMENT

“I am interested in artificially imposing structure to organic elements through the extension of tangent lines.

The organic aspects of an artwork may be shapes drawn from observation, or they may be created through the unstructured use of colour. A geometric framework is then imposed onto the image, by continuing the lines that meet at the corners in the composition. Each piece thus results in a tension between the organic and the geometric layers.

I am motivated by the experience of how individuality can grow within a rigid framework of laws and expectations, and how, in turn, this regulatory framework can be shaped by creativity. I apply these ideas to my process, by combining an intuitive approach with a strict set of rules for the creation of each painting.” Bo Cosfranz

What kind of education or training helped you develop your skillset?

Although I've always been interested in creating and expressing myself, it has been useful to go through different training types to help me focus and discover my own style.

For me, the school was key to my art education because I was fortunate enough to have passionate teachers who would invest their time and encourage me to keep creating. A supportive network is really useful when you want to enter a creative career because there always seem to be more people telling you that it's not possible.

Over the years, I have taken lessons in painting, drawing, textile, printmaking, and sculpture. Working with a range of different techniques has largely shaped the way I approach painting now, as I like to use reduced color palettes and plan the order in which different areas of color need to be laid on the canvas.

My art education also exposed me to the importance of studying other artists' work. It is not really about copying from others or trying to replicate a successful formula, but rather it is about realizing that art is a conversation. To be involved, you need to know what others are saying. Studying art can also help you to realize what you want to achieve. For example, how would you have approached the same subject matter differently, or how could you look at your subject matter differently?

However, going to formal art lessons isn't always necessary. My art style has also been inspired by other subjects, including maths and science, which shaped my analytical approach to creating. Different experiences have the potential to teach you in different ways by changing your perspective.

Ultimately, the best way to develop your skillset is to keep practicing, trying different things, and going out of your comfort zone.

Please describe the intention behind your art. How do you successfully express this intention?

In my work, I am exploring the relationship between people, our intrinsic nature, and the rules imposed on us by our world.

I try to do this by creating a contrast between the organic and geometric parts of each workpiece. The organic parts are created by the shapes drawn from observation or by the free use of color. A geometric framework is then imposed on top by extending straight tangent lines from the corners in the composition.

I believe that rules can be a catalyst for creativity and individuality, as some restraints can help us focus or provide a source of inspiration. In response, the rules can also be shaped by creativity. I try to reflect this in my work, as the subject matter and the geometric framework are intrinsically linked.

The tangent lines are a constant in each artwork because I am also applying the concept of rules to my process, combined with an intuitive approach to other aspects, such as the color palette. I like the idea of embodying the concepts I am exploring while I am creating the work and then also having them represented in the final image.

Where did you get your imagery from? What sources did you use?

Most of the time, I start by drawing from observation, as this was a key part of learning to draw and was always emphasized during my education.

My subject matter also tends to be the human figure, as I believe that art is an exploration of what it means to be human, and we tend to be inherently interested in ourselves and others. The figures I use might include myself, people I know, or sculptures and statues that are inspirational. However, I am not especially interested in the identity of the person or in creating a portrait. I am more interested in the shapes and shadows I see in the figure and how these could be reflected in a composition.

The idea of adding tangent lines to a drawing was partly inspired by studying geometry and partly by the satisfaction of imposing smoothness on sharp corners. It is an idea that has been in my head for years, and I want to keep exploring it in different ways. The initial drawing dictates the layout of the lines in a painting, so in a way, they are figurative, even though they may seem to be abstract or randomly placed.

Could you talk about your creation process?

Usually, I start by taking a series of photos to help me understand the form and shadows. Some of these then lead to drawings, and the most successful of those compositions become paintings.

Once I have a final composition, creating the final piece is a bit like a puzzle. Each painting also has its own specific set of rules for how I treat the tangents. For example, they might have the areas between them filled, with the color-changing as these areas' overlap'. When creating the final painting, I start by mapping out where the forms and the resulting tangent lines will be. I then work out how many 'layers' have been created by the tangents, and finally which colors then need to go in which areas.

Even though I will have drawn the basic subject matter and composition of the painting before, how the final image will look is only revealed at the end, when all the colors have been added.

I normally choose my color combinations intuitively, but I am inspired by colors I have seen elsewhere, for example, in nature or design. I tend to use strong or bright colors to add energy to the image and make a clear statement.

What is the hardest part of your creativity? How do you overcome obstacles in new projects?

My main challenge is patience to see projects through to completion before moving on to the next idea. It's a lot quicker to make a painting in your head than to do so in real life, so you need to invest the time and energy to create that physical object.

I find that being organized is the best way to make sure I get my projects done. This means making a schedule and setting up a tidy space to work comfortably. I also find it difficult to concentrate on one thing at a time, so playing an interesting lecture or podcast in the background helps me focus and feel doubly productive.

How have you been so successful with marketing and selling your art during the pandemic time?

Shows and fairs are a really important aspect of working as an artist, as they allow you to connect with buyers and other artists in real life and, of course, to sell work. Having exhibitions canceled due to the pandemic made this more difficult for artists. It has also harmed the industry as a whole because many organizations have lost money as a result and may not keep operating.

However, the online art community has reacted well to the new challenges. Artists quickly stepped up to support each other, create new online opportunities, and keep the socializing going when we couldn't do so in person.

During this time, I participated in one socially distanced show of lockdown art during a period when it was considered safe to do so in my country. Otherwise, I stayed involved in online projects. Doing things like this interview has also been inspirational, as they have kept me in a creative mindset!

Any shows, galleries, or publications where our readers can find your work?

Over the past few years, I have regularly participated in both group exhibitions and art fairs, mainly in London and around the UK. I also work with several online galleries. The best way to keep up to date with any new work, exhibitions, or publications is online, either through my website or Instagram @cosfranz, where I share new developments.

What's the coolest art tip you've ever received?

It's not a very unusual tip, but learning how to measure distances and ratios using an outstretched arm and a pencil when drawing still life really made the process much more accessible. I believe that anyone can become great at drawing with the right tools and guidance. If it is approached as a skill to learn, rather than as a talent you are just born with, drawing becomes easy. It is then up to you to add your own creativity and express your unique ways of seeing the world to turn the drawing into a work of art.

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