Statement

Wandering, loitering, daydreaming, images beckon us into their vacated centre. We project our own reading, our own intentions and desires through the images we collect and we read the landscape according to our circumstances. My practice plays with the postcard and our desire to capture the lost past, lost desire. Loosened from authorial control and placed within the politics of the reproduction, the photographer disappearing, the postcard becomes an anticipatory space, expendable, and revealing something about the viewer.

The videos, video installations and other media in my practice suggest encounters with the real and material in the world. My critical-documentarist art practice is not primarily conducive to narrative, nevertheless, I document the landscape in terms of real events in real places. Experimental (structural) film and diary filmmaking are my primary fields of reference. My art practice uses digital video and video installation to investigate the conceptual thinking around the transitional edge, a paradoxical understanding of the frame and one offering linkages to the open-ended ways of thinking to which my practice refers.

Karen Bosy@kmbosy, home is where the heart is, digital video still, 2023.

Implying the Surface

I am guest co-curating a call for the Animation Society blog (not the journal). The blog promotes academic writing (600 – 900 words) in the field and is curated and edited by two PhD students, one at RCA. The call is for a series of blog posts about presenting the spatial environment as grounded, without representing it as ‘the ground’ in films, animations, or other works using animation strategies or technologies.

The full call can be found on the Animation Society blog: https://blog.animationstudies.org/?page_id=5083.  Link in bio.

Bio

‘we learn to interpret the conversations associated with photography, cinema, painting, street signs and so on,’ and our knowledge of these systems ’lead us to believe that the world is a fixed and orderly place’ (Lingwood quoted in Kester, Rachel Whitread’s House, 1995).  

When I was a girl, my family moved from Toronto, a city in the middle of a continent, to a rural island in the Caribbean Sea. Mixed in with my astonishment at the clichéd truth of the velvety heat of the scented tropical air, was my awareness of the unfamiliar design of street lighting. Although I was young, this move away from a place I understood as my world brought into view for me the constructedness of my reality. My understanding of television also changed and what had been for me a form of entertainment became a way to communicate. My mother’s informational puppet show, she was in public health then, was broadcast daily. The puppets could be found in the opening time slot of the TV channel of this island, which broadcast during after school hours. Later my school selected me and other girls to play the pirates for a television commercial promoting Birds Eye ready-made food for children, which was also broadcast in the UK. This experience highlighted for me the role of the landscape within the potential of moving image. Subsequently back in Toronto, I studied painting at OCA(DU) and then in Florence, Italy. Later, I moved to London and studied printmaking and painting at The Slade School of Fine Art.

Currently I move between London and Toronto; my work is held at Emma Hill Fine Art, The Eagle Gallery, London, England. I studied painting at OCA(DU) and then in Florence, Italy. Later, I moved to London and studied printmaking and painting at The Slade School of Fine Art. Now as a PhD candidate at RCA, I (re)consider the landscape, the nature of site and conversations associated with media, in the context of art practice. I use video, video installation and other media within my art practice and research. My papers, on the subjects of the monument in art practice and the blog as a frame, can be found in researchonline.rca.ac.uk. Links to my published writing can be found in News. I am a founding editor on a team continuing to develop an online academic research journal supporting artistic and design research. This online experimental platform itinerant space disseminates research practice. PhD students gain experience in editorial roles and publishing. itinerant space is supported by the School of Communication at RCA. itinerant space, Issue 2: Dispersal will be published in February 2024.

instagram: @kmbosy

Orcid Number

itinerant space, Issue 2: Dispersal / Open Call & Peer Review

We are welcoming expressions of interest from research students, from all the Schools at RCA, who are interested in helping with peer review. Contact the editors

2024 | K M Bosy

itinerant space, Issue 2: Dispersal, will be published February 2024, during RCA’s DTP week.

The co-editors of itinerant space launched an Open Call for Issue 2, during the RCA PhD Research Biennale 2023 at The Copeland Gallery in June. The call is open to PhD students in all the school at RCA, at all stages of the PhD journey. As a founding editor of this journal, I am looking forward to the new ideas this open call will bring.

Click this link to view Issue 1, The Pilot Issue. Our guide to submitting can be found here. Open Call for submissions can be found here.