The videos, photographs and installations in my practice are primarily documenting the landscape as a frame but suggest encounters with the real and material in the world. I draw on diaristic practice and my main field of reference, experimental (structural) film with the aim to productively negotiate site(s). In working with the scatterings, inadequacies, and inversions within critical-documentarist art practice, these become productive strategies precluding a foreseeable end.
Our images present us with a quality we seek amid the complexites of our world. With the photographic object there is a time lapse despite the indexicality of the process; it seems the past resists our reach. We project our own intentions and desires through the images we collect. My images and installations as registers of attention and inattention, becoming documents of sites anticipating deconstruction.
My practice plays with the postcard and our desire to capture the lost past, lost desire. Images, loosened from authorial control, wandering, loitering, daydreaming, beckon us into their vacated centres. Placed within the politics of the reproduction, the photographer disappearing, images become anticipatory spaces, expendable, revealing something about the reader.
CV & Education
When I was a child, my family moved from Toronto, a city in the middle of a continent to a rural island in the Caribbean sea. Although I was young, this move away from extended family and a place I understood as my world, brought into view for me the constructedness of my reality. As James Lingwood explains: ‘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’ (cited in Kester, 1995). Lingwood’s comment corresponds to an early impression of my new home where, 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.
As a result of this move, my understanding of television also changed. What had been for me a remotely controlled, public form of entertainment became a tool for communication within the community. 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 on the sole TV channel of this island, which wisely broadcast only 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 dispersal and site within the potential of moving image.
Subsequently back in Toronto, I studied painting at OCA(D) and in then Florence. Later, I moved to London to study printmaking and painting at The Slade School of Fine Art. Currently I move between London and Toronto; my work is held at the Eagle Gallery. As a PhD candidate at RCA, I am considering the unfixed nature of site and conversations associated with media in the context of dispersal and critical-documentartist art practice and using video and other media within my practice-based research. My recent papers on the subjects of the monument in art practice and daydreaming (unspecific thought), and the blog as a frame can be found in researchonline.rca.ac.uk. Links to my published writing can also be found on my blog: kmbosy.com/blog. Currently I am a founding editor on a team developing a new online academic research journal supporting artistic and design research. This new online experimental platform itinerant space is supported by the SoC at RCA and was launched in 2021.
PhD candidate at the Royal College of Art, London, England.
Editor on a new online academic research journal supported by the School of Communication at RCA. itinernant.space is an experimental platform launched in 2021 publishing a Pilot Issue and Issue One will be published in May 2022.
PhD candidate at the Royal College of Art, London, part-time, 2016 ongoing.
HDip Painting and printmaking, Slade School of Fine Art, London, 1988.
Graduate studies, Painting, OCA Studio, Florence, Italy, 1984.
AOCA Diploma, Ontario College of Art, Fine Art, Painting, Toronto, 1983.
itinernant space screens my vault series video and carries my research exploration Scanning the aerial view: legitimate and illegitimate information online, 2021. This online platform was launched in 2021 with the pilot issue, and the PGR students within RCA’s, School of Communication were invited to contribute to this journal’s developing conversations. As a founding editor on a team, I was involved in developing this experimental platform in support of practice-based research, during the pandemic lockdowns. Issue Two will be a result of our current open call to all the schools in RCA and will be published in May 2022.
Another Land, exhibited installation, projected line. This was an exhibition and events programme aiming to generate discussion and compare methods, knowledge and communication in the visualisation of place. This exhibition was supported by the London Doctoral Design Centre (LDoC), Kingston School of Art, the Stanley Picker Gallery and Kingston Museum, London, 2019.
I Scared My Computer, exhibited water drawing in the form of a video installation on retro-style monitors, during Know Your Home, a cross campus programme of exhibitions and events at RCA, London, 2019.
Intentions: Conversations, Experiences and Knowledge, screened videos from vault series and a collaborative sound installation Script, while also including my zine what is public space? This exhibition developed through conversations generating ideas and created an opportunity for testing practice-based research, London. 2017. Catalogue ISBN 978-1-910642-30-6.
31ºC, ASC Gallery, exhibited Shelter, a video installation consisting of a structure and a video, was developed in collaboration with artist Vicky Kim. This collaboration developed Exchange Project, and Script exhibited in Intentions (above), 2017.
Thinking Through Sound included are we recording now? an intervention into the relationality of the space of the museum using sound. This was included in the Design Museum’s opening weekend. Located in an alcove overlooking the shop, this sound piece was placed amongst the museum’s objects, albeit ones for sale, London, 2016.
Of Improvisation, a pop-up exhibition at Apiary Studios, London, 2015, launched Inside here by kmbosy (Android and iOS). This artwork using a native smartphone app and linked online artwork questions understandings of site and place-centricity using GPS and smartphone technology. This artwork’s app is updated regularly. Information and links to Inside here can be found at: www.kmbosy.com/blog. Related online artwork at: www.kmbosy.com/blog, virtual space, ongoing.
Selected Conference Presentations / Papers
2020 vault, text, medium format photograph, PROVA, Journal 5, Correspondence research group, School of Arts and Humanities, RCA, London. http://www.provarca.com/prova-journal-2/prova-5/
2020 Media languages: video practices, shared paper published in EVA London 2020 conference proceedings. https://researchonline.rca.ac.uk/4466/
2019 Daydreaming space and the digital monument, paper published by Estudos em Design https:/estudosemdesign.emnuvens.com.br/design https://researchonline.rca.ac.uk/44
2019 Signs of expression, shared paper presented at CIDI, Information Design International Conference in Brazil, published by InfoDesign Journal. https://researchonline.rca.ac.uk/1949/
2019 Conference Chair, CONGIC (Student National Conference of Information Design), Brazil.
2019 Multiple means of expression made available by digital media, shared paper published in EVA London 2019 conference proceedings. ISBN 978-1-78017-522-5.
2017 Film 7, we all look at the same sky,Intentions: Conversations, Experiences and Knowledge, RCA, catalogue cover Image and research abstract. ISBN 978-1-910642-30-6.
Webinars and Workshops
2020 webinar, Media languages: video practices, Encontro em Design Contemporaneo, LabDesign Contemporaneo, Brazil.
2020 Cybernetics and overtrust in the robotic age, webinar and panel discussion, Research students pre-sessional talks (RSST), Week 6, English for Academic Purposes, RCA, London.
2019 The ad hoc and the organized in public space, The Commemorative Document and the Image Bankand Participation_Negotiation_Persuasion,on themes of Curatorial,Inspirations and Influences, and Movements and Trends during Research Student Pre-Sessional talks, a series of presentations & workshops, organized by English for Academic Purposes, Royal College of Art. http://www.kmbosy.com/blog/image-bank/
2019 What is Public Space? at Trajectories IIan exhibition and events programme at Waterman’s Art Centre, London.
2018 What is Public Space?,Public Space & Exchange andPublic Space & The Manifesto,on themes of Curatorial, Inspirations and Influences, and Movements and Trends for RSST research student presentations and workshops, organized by English for Academic Purposes, Royal College of Art. http://www.kmbosy.com/blog/image-bank/
2017 Research summer school workshop event, using my zine What is public space? to explore relationality of space and place, and the space of the monument. Research Summer School, School of Communication, Royal College of Art, London. Images can be found in ‘news’ at: http://www.kmbosy.com/blog/insidehere/
Selected Past Exhibitions
Leda’s Egg, Oasis TV Studios exhibited a series of prints in a solo exhibition, London 2005.
Wing Ling, The Eagle Gallery at Art Frankfurt Book Fair, Frankfurt, Germany, 2003
New Work, The Eagle Gallery, London. My digital prints Wing Ling exhibited in this exhibition, were also included in Art Frankfurt Book Fair, 2003.
Small is Beautiful, Flowers Gallery, London, 2002.
Prints and Monotypes, The Eagle Gallery, included my monotypes in this shared exhibition, London, 1997
My work was held at Mercury Gallery and included in exhibitions curated in accord with this gallery’s interest in 20th century British artist printmakers, Cork Street, London, 1995 to 1998.
National Open Rothenstein Cup Exhibition exhibited my monotype, boy standing and I was involved in organizing this exhibition, specifically the support through donated prizes for selected artists in my role as a management committee member for The Printmakers Council, Whitely’s, London, 1995.
Salon des Graphiques, juried group exhibition included my mixed media works on paper, Curwen Gallery, London, 1994.
Art 94, The London Contemporary Art Fair, my work was exhibited by The Gallery at John Jones, London, 1994.
Collographs and Monoprints group exhibition, included my mixed media works on paper, The Eagle Gallery, London, 1993.
Contemporary Paintings and Prints I organized this open call exhibition, co-curating with Franki Rossi, at Curve Gallery, Barbican, London, 1993.
See the Prints at The Royal National Theatre, London, 1992 and The Art of the Printmaker at The Royal Festival Hall, London, 1990, group exhibitions exhibited my monotypes and participating in exhibitions within brutalist buildings developed into curating the 1993 exhibition in the Barbican’s Curve Gallery.
Angela Flower’s Small is Beautiful part 8 – The Figure, Flowers East, London, 1990.
My works on paper were exhibited at Creaser Gallery. As a gallery artist my work was included in exhibitions exemplified by, My Mona Lisa, A Foot in Every Direction, Christmas Print Shows and the art fairs, Bath International Festival, and Art 89, The London Contemporary Art Fair, Portobello Road, London, 1988 to 1990.
Artist in Residence, and teaching assistant at the Essendine Institute and my works on paper were included in the Artists in Residence Exhibition, London. 1990
Ormonde Road Printmakers group show at The Square Gallery, in Highgate. Subsequently I joined the Ormonde Road Workshops management committee, London, 1990
Solo exhibition at the Ethical Society’s venue, Conway Hall. Studio space was also supplied, London, 1990
Solo exhibition at the Blue Nose Gallery, supported by a Visual Arts Ontario, exhibition travel grant, London, 1989.
Open to Print Exhibition, juried exhibition, Backhouse Gallery, Sunderland, England and touring, 1988-1989.
My work was work held by The Art Company Agency (Porl Porl Gallery), Leeds and included in all relevant exhibitions held at this gallery, 1988-1989.
The Slade Print, a touring exhibition, by invitation, held at VM Art Gallery & Gallery, Chowkandi, Karachi, Pakistan & touring: Islamabad, Lahore, Peshwar, Quatta. 1989
Shin Jahk Jeon Exhibition, Lotte Gallery, group show by invitation, Seoul, Korea, 1988