Carnegie Hall

Sol Cotti is an award-winning illustrator from Buenos Aires, Argentina, commissioned by Carnegie Hall to create a signature piece of art for the Nuestros sonidos festival. Cotti’s Fiesta tempo—with its flowing lines and visual rhythms—captures the joy, vibrancy, and excitement of the season-long celebration, containing a world of delightful details.

Cotti enjoys crafting fresh visual narratives through vibrant color palettes. Her diverse characters and dynamic compositions are inspired by themes that include gender and women’s empowerment, music, and everyday life. Her work has garnered recognition from esteemed organizations such as the Society of Illustrators and American Illustration, and her clients include prominent brands including Apple, Sephora, Instagram, and The New York Times.

Walk us through your general artistic process. How do you typically develop an artistic idea or concept?

My artistic process typically starts with some exploration. The first thing I did when I knew I was going to be the illustrator of the Nuestros sonidos festival was to visit the MALBA (Museum of Latin American Art of Buenos Aires), where there are many works by artists whom I admire and where I usually find inspiration.

It was in the museum where I made the first artistic decision to approach this illustration: I wanted to capture the joy and excitement of Latin music through the assembly of elements so that the characters and instruments were connected to each other. The premise was that diversity abounds in Latin America; we are all very different from each other—sometimes even within the same regions—but there is something in common that connects us all and makes us part of the same community. It’s like music bands—although each instrument plays a different role, everyone needs to do their part to play the same song.

One of the challenges was that I needed a starting point to connect the concepts. I found the solution when I realized that I loved the architecture of Stern Auditorium / Perelman Stage. So I used its curves and shapes to start integrating the composition.

The second decision was the choice of color. I wanted it to look vibrant and bold, but focused. That’s why I chose a limited but celebratory color palette. I also wanted to tell the story by using negative space. I feel that well-used negative space makes the concept more interesting and gives strength to the symbolism. I like the idea of creating hidden surprises in my work to create a sort of interlocking puzzle.

How do you hope this piece of art makes people feel?

I hope people can feel a little joy through this illustration. I hope that the artists who perform at Carnegie Hall as part of the festival feel represented by it and that the audience captures the energy and passion of Latin music.

What is your daily process as you work?

My daily routine is quite methodical. The first thing I do in the morning is to prepare my maté. Then I go to my studio and turn on the radio or put on some music. But when it comes to illustrating—whether in the sketch or color phase—I prefer to be silent, sharing my thoughts in a conversation with myself.

What music are you listening to right now? If you had to suggest a soundtrack to viewing your art, which artists or albums would you recommend?

Since I was a child, I was always into Argentine rock, mainly Patricio Rey y sus Redonditos de Ricota and Charly García. But in recent years, my musical taste has expanded, and I’m currently exploring trap artists like Bad Bunny, Maria Becerra, and Ca7riel. Other times I’m in the mood for Luis Miguel, Shakira, Babasónicos, or Los Fabulosos Cadillacs. I am also a big fan of Red Hot Chili Peppers and I love ’80s music. But when it comes to dancing or parties, I definitely prefer cumbia and reggaeton, especially Damas Gratis.

If I had to suggest a soundtrack to viewing my artwork, I’d recommend listening to the song “La Perla” by Calle 13. Also, I’d definitely listen to Daddy Yankee’s Talento de Barrio.

What did you enjoy most about this project?

What I liked most about working on this project was the creative freedom I had to develop the concept, which can also be a big challenge. This project found me in a very difficult part of my life—I was going through a rough time. But the moments I spent in my studio working on this illustration gave me light and color to face the situation. I appreciate being able to connect with the joy of music—with the rhythm of the sounds that I tried to depict in my illustration—because after all, life is about constant movement. I feel that this project came to me at the exact moment I needed it.

What’s your favorite color?

My favorite color is red, but it is not the primary color in my work unless the concept warrants it. I really like combinations of specific shades of red with specific shades of pink, which I usually include in my color palettes. I am quite picky when trying to find the exact tones to create harmony. I am also drawn by the contrast on dark backgrounds.

Are there any major artists you looked towards for this project and why?

For this project, I looked towards Argentine painter Emilio Pettoruti. I love the modern, geometric layouts of his work. I am also inspired by the carnival and festival themes, extravagant colors, and vibrant brushwork of Brazilian artist Emiliano Di Cavalcanti. Tarsila do Amaral’s work influenced me as well: her bold use of color to represent the richness of Latin American landscapes. And of course, I’d like to make a special mention to the paper cut-outs of Matisse, which really inspired me.