Above Image: K M Bosy, digital still, private series, digital video, 2022
2022 | K M Bosy
Thank you for participating in Seminar Project. This project is now completed. Your participation was valuable to my work and I hope you will keep sharing your ideas as new projects become open for development.
This project researching image, space and materiality, was organised by Karen Bosy (PhD Candidate, RCA) and Cristina Portugal (D.Sc, Research Fellow 2017, RCA). Our papers, co-authored on Seminar Project, can found by clicking the links below. Our writing on Seminar Project can also be found in EVA London conference procedings, 2019 and 2020.
Media language: video practices (2020) https://researchonline.rca.ac.uk/4466/
Signs of Expression (2019) https://researchonline.rca.ac.uk/1949/
This project is now completed
This collaborative project developed from a series of interviews. The decision to ask contributors to use moving image as a way to represent their own medium and way of working moved this project away from a primarily text based format. Contributors are asked to consider the prompt of a glass of water for a video-based active reflection on their practice. The water or the glass can be present or not present in the film, for example, it could be used as a prompt for visualisations of place, or perhaps the ‘publicness’ of the water glass could be explored, as an object of the everyday. Other ways may be found.
The resultant moving image works are of a maximum 3 min. duration. Practitioners invited to contribute represent diverse fields in art and design practice and may usually use other means of expression including text, mark making, object, film as well as video. If you are an art or design practitioner and would like to contribute to this project, please contact KMBosy for information or to send a link. An email form can be found in contact (click gallery in the blog menu). Please also include a signed consent form when sending a link.
K M Bosy https://vimeo.com/295435678
(Karen Bosy, 2018) More information can be found at: www.kmbosy.com
My contribution, Private, is videoed using a way of working within my practice. For me, the glass of water in this video alludes to to sites of presentation, as sites where ideas are given a public airing and glimpses of the personal are allowed.
Corinne Duchesne https://vimeo.com/309027627
“Take me to the water, drop me in the river
Push me in the water, drop me in the river
Washing me down, washing me down…”
Talking Heads, from the album: More Songs About Buildings And Food (1978)
More information can be found at: www.corinneduchesne.com
https://vimeo.com/391823337 Orla Fahey Design of Safety is my area of research. This film focuses on the concept of Shared Space, from traffic engineering, which encourages pedestrians and cyclists to share a space, with the belief that everyone will be more considerate of one another and risks reduced. The film examines the design of this space from a safety perspective, thinking for example how able bodied or alert people may negotiate the hazards in the space more safely. This leads to questions of who the space is designed for, and whether it creates an exclusion zone for those less able and confident in the space. The glass of water stands beside the Shared Space sign and is used as a prompt to ask: Who is the sign aimed at communicating to? Is it clear what the sign is communicating? Is it understood what the sign is for? The film shows an elderly man using the Shared Space sign to hold on to for his safety. Like the water in the glass, the flow and movement of people are contained and restricted within in this shared space by it’s design, with navigations signs and signals potentially ambiguous, indecipherable or exclusionary. (Orla Fahey “Shared Space.” Vimeo. Accessed March 10, 2020. https://vimeo.com/391823337.)
https://vimeo.com/321858649 Mayra Martin Ganzinotti ‘Water is a planetary archive containing meaning and matter as well as a conduit and a mode of connection; water’s passage over time leaves a trace in the seemingly permanent stone. I am looking at new forms of intimacy, a way into the stone, to reground and reconnect us to the geological and reconsider the human-geological relationship, as well as to reframe questions of proximity, agency and touch. I try to forge relationships whereby geology becomes an active participant in the formation and reframing of human subjectivity and history, seeking a means to speak from the subject’s position.’ (“Traces.” Vimeo. Accessed March 12, 2019. https://vimeo.com/321858649.)
https://vimeo.com/346962505 https://vimeo.com/346961342 Carl Jones The magic system at work in developing countries “In the capitalist world a glass of water has become a branded commodity. Advertising provides persuasive reasons for consumers to pay for something that they can also obtain for free. Why is that? Welsh theorist Raymond Williams calls it the magic system.” (‘The Magic System at Work in a Developing Nation: Bonafont Day 1 LEGEND’, Vimeo, accessed 14 July 2019, https://vimeo.com/346962505.) (‘The Magic System at Work in a Developing Nation: Bonafont Maralyn’. Vimeo. Accessed 14 July 2019. https://vimeo.com/346961342.)
https://vimeo.com/320085568 Irene Loughlin ‘I trust that humans have created rituals as a container for meaning since time immemorial, and the process of the performance follows this trajectory. I did not have much control over the documentation of the performance which I feel is in itself an artwork outside of my control. Since my body is part of the artwork, I rely somewhat on what I call the fantasy of reception (I imagine what the image must look like but I can’t visually see it from outside of myself or through the video monitor, since I am intrinsically both part of the image and part of the art making. I am too busy doing to be seeing (with my eyes). Video Performance brings about a different kind of seeing, a kinaesthetic projection. I sense rather than monitor the video documentation, which is then reconstructed visually through the editing process.’ (Irene Loughlin, “Performance with a Mirror for Trees_Irene Loughlin,” Vimeo, accessed March 3, 2019, https://vimeo.com/320085568.) More information can be found at:http://www.ireneloughlin.com
https://vimeo.com/325215353 Paul Moody ‘Insofar as any representation can be, it is what it is: one minute’s video recording of a glass of frozen water changing in relation to the temperature of the environment, underscored with the sounds of a clock ticking and in the audio background our cat, Hobbes, eating. Interpretation is up to the viewer, insofar as the representation enables.’ (Paul David John Moody, Paul Moody A Glass of Frozen Water Begins to Thaw, 2019, https://vimeo.com/325215353.)
https://vimeo.com/348400352 Ceyda Oskay
https://vimeo.com/304246586 Debbie Poon ‘Translucent and delicate, these rice paper cups were made in response to the paper cups found next to fountains, that have a single life use. After being filled with water, the paper loses its structure and the cup appears to melt.’ (Debbie Poon, 2018)
https://vimeo.com/288050633 Cristina Portugal ‘Nature has as a scene a natural environment sometimes broken by concrete structures, the production technique of representation of nature framed by a series of images in slow and fast movements transpose us to a reflection. This representation of nature enables us to see and think the real. After all what is real and virtual? Material and immaterial?’ (Cristina Portugal, 2018)
https://vimeo.com/288579211 Cristina Portugal, Felipe Alram, Ted Maury Ephemeral‘ In an environment of light and shadow – the viewer is guided by the sound to identify and potentiate the effects of visual images is presented an ephemeral world where everything flows, material and immaterial objects arise and disappear provoking in the viewer an experience of immersion in a virtual world.’ (Cristina Portugal, 2018)
https://vimeo.com/106498159 186015357 112388382 Joanna Roykovska ‘Films shown here, evolving around the figure of shadow, light and water are an attempt to turn attention to the hidden dimensions of reality. As shadows bring to mind these realms which stand between material world and pure light, water introduces the motif of wave – force, energy having a creative power to transform primordial light into individual being and dissolve them back into pure light.’ (Joanna Roykovska, 2019) More information can be found at: https://www.joannaroy.com
Felicia van Bork https://vimeo.com/310846838
‘The Color Grids are a series of private oil pastel drawings based on humble things, like the colors to be seen in a brown dog lying in sun and shadow, or the colors of the sky reflected in a glass of water. I think I am trying, over and over, to depict my most and least individual self. The drawings, with their illusionistic, volumetric spaces, intentionally engage the viewer’s private, emotional sense of space, and as soon as a viewer’s imagination enters a drawing, a narrative is launched. If the public viewing of my inner world opens someone else’s inner world, what is public space and what is private?’ (Felicia van Bork, 2019) More information can be found at: www.feliciavanbork.com
https://vimeo.com/317434079 Dee Vora Black River / Leveller