Rossina Bossio is a multidisciplinary artist born in Bogotá, Colombia. She studied Visual Arts at Pontificia Universidad Javeriana in her hometown and Fine Arts at L’École des Beaux-Arts in Rennes, France. Her work, which ranges from painting and drawing to video, has been exhibited at The Imperial City Art Museum (BAMOIC), in Beijing; the Grand Palais in Paris; the Tribeca Cinemas in New York; and the Saint Claire’s Church Museum in Bogotá.
Growing up in Bogotá in a highly conservative and religious environment, Bossio’s earliest drawings and paintings delved into her past aiming to shatter taboos about gender and sexuality, in an attempt to redefine her identity. In early 2008 she traveled to France, where she would live and work for several years. This marked an important turn in Bossio’s work, focusing less on autobiographical issues and more on the wide-ranging situations of all womankind. Gender systems and traditional conceptions of sexuality thus became the core of Bossio’s practice.
In 2010, the artist embarked on her most ambitious series to date: The Holy Beauty Project (THBP). Featuring painting, video and performance, THBP explores the seductive power of images as well as the influence of religious and pop iconography on our identity. This project culminated in a solo exhibition held at the Saint Claire’s Church Museum in Bogotá, on April 2012.
Restless in her practice and in constant evolution, Rossina Bossio keeps delving into the human figure. Her portraits are complex, ambiguous; they reflect an endless quest around the paradoxes of the human condition. Women are still her preferred subject: women as the epicenter of seduction, as protagonists of the history of visual communication and as a symbol of beauty, but a beauty that, when transferred to the canvas or the screen, it is not about complacency or sweetness: it becomes visceral and ambiguous; it is beauty that confronts the viewers while subverting taboos and stereotypes.
“The work of Rossina Bossio is primarily the art of painting, its practice and execution, its playful and sensual aspects and all the reasonings that it involves. This is the reason why the women, objects and spaces she represents do not evoke a predetermined, literal or univocal sense. On the contrary, considerations such as chromatic subtlety, the delimitation of space, and the relationship of forms are key points for their appreciation.” — Eduardo Serrano, Curator and Art historian.