Approved: 16.08.2006

K M Bosy

Artist, Film-maker, Maker, Researcher

Approved: 16.08.2006

My practice is in part concerned with documenting the affect of sites using moving and still image, drawing and print.  For example, as a way to consider ideas of ownership and concepts relating to public and private space, I am using lithography and digital print to produce multiples, each of which undergoes a process of removal, relocating areas of image belonging to each into one collection. In this way, although the prints can be distributed, a fragment of each is collected and remains undistributed; each work is in a way shared.

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      Biography

      My practice is in part concerned with documenting the affect of sites using moving and still image, drawing and print.  For example, as a way to consider ideas of ownership and concepts relating to public and private space, I am using lithography and digital print to produce multiples, each of which undergoes a process of removal, relocating areas of image belonging to each into one collection. In this way, although the prints can be distributed, a fragment of each is collected and remains undistributed; each work is in a way shared.

      Filming and walking and in this way mapping sites so as to allow a small area of sky to represent the whole; my experimental films reference systems of representation and coding.  I am conscious of the potential of data, however playful a form it may take in my practice.  The reinterpretation of my physical movements by the water I am carrying points to dispersal in relation to fragmentation of information and to notions of the distant and close, impersonal/personal, collective/individual that make a familiar sky strange.

      CV & Education

      I am based in London, UK, where I am a PhD candidate at the Royal College of Art.  I am currently developing a thesis examining dispersal as a critical device for interrogating the subjectivised experiences of daydreaming, imagining, thinking, within the expanded field of moving image art practice.  Through the use of dispersal as an estrangement technique, the process of viewing, imagining, judging, and making meaning becomes reliant on active, reflexive, self-critical, construction of vision.  Estrangement, seeing ‘anew’, through an emphasis on process as Svetlana Boym explains drawing on the well known theorist Hannah Arendt’s definition, is constitutive of freedom; performative, collective, individual judgments in the public space.

      Recent exhibitions include IntentionsConversations, Experiences and Knowledge exhibition at RCA, London, and 31ºC, ASC Gallery, London, 2017; Thinking through Sound, sound intervention for The Design Museum's opening weekend, November 2016; and Of Improvisation, a pop-up exhibition at Apiary Studios, December 2015, which launched Inside here, an artwork using a smartphone native app as medium and with a corresponding and on-going online artwork which can be viewed on my blog. http://www.kmbosy.com/blog

       My work is currently held at The Eagle Gallery (Emma Hill Fine Arts), London.

      April to May, 2019  Another Land is an exhibition and events programme exploring experimental visualisations of place aiming to generate discussion and compare methods, knowledge and communication in the visualisation of place.  A collaboration between the LDoC, Kingston School of Art, the Stanley Picker Gallery and Kingston Museum this programme will allow me to explore and test ideas within a public programme through my installation of artwork exploring dispersal and my workshop What is public space?  during which a collective|dispersed artwork will be created by participants sharing ideas about ways to visualise space using text, modelling and moving image.

      January and February, 2019  Trajectories II, part of a three-year programme of events at Waterman’s Art Centre, London, aims to provide an opportunity for academics, practitioners and others to consider and engage in critical discussions about art, design and technology, investigating how art and art education can help us reflect on and engage critically with moral and ethical debates of our time.  My workshop Collective|dispersed: what is public space?  will challenge the participants to engage with diverse modalities with the aim to raise awareness of the information gained and lost in changing modes while developing a shared although dispersed artwork.

      Continuing from 2015  Inside here by kmbosy, (iOS and android).  My current practice-based research project progresses in part from this initial exploration of the public digital space.   This artwork uses a native smartphone app as art medium and is linked to a related online artwork to facilitate sharing ideas, which can be viewed on my blog.  I worked with developers and gained experience relating to the business of making and the technology underpinning two very different smartphone operating systems, and considered ways in which new developments in this technology facilitates or disturbs a progression in art which is reflected in the trend from one type of collective experience to another.  More information and links can be found on my blog: www.kmbosy.com/blog

      December 2017  Intentions:  Conversations, Experiences and Knowledge:  RCA.  This exhibition was developed by the School of Communication research community through conversations generating ideas and created an opportunity for testing practice-based research.  Participating in the development and exhibiting works in this exhibition created openings for dialogues with other researchers.  Included in this exhibition were vault 1 and 2 (moving image), my zine What is Public Space? a prompt for intuitive shape making, and a sound piece based on an exchange of text and images made in collaboration with a researcher from the SoAH in RCA with M.A. students voicing scripts.

      Collaborative artwork Shelter developed for 31ºC., ASC Gallery, London, August 2017.  This artwork developed through a dialogue with researcher Vicky Kim from SoAH RCA was awarded a place in this open exhibition.  Shelter, our first collaborative artwork is a juxtaposition of two practices.  This collaboration expanded my understanding of working with sound, the sculptural and with diverse cultural viewpoints through explorations of melds and juxtapositions.

      Proposing, developing and installing an intervention for the Design Museum's opening, London, November 2016.  During my initial term at RCA I joined the M.A. elective Thinking through Sound, to engage with the concerns of my programme, Information Experience Design.  Through this elective, the opportunity to join in the Design Museums opening celebrations became available. This required a fast response to a brief that, although narrow in its parameters, was relevant to my exploration of the public space.   My resultant sound intervention are we recording now?  considered the relationship between ‘ad hoc’ and the museum.  This piece was positioned in a window alcove overlooking the museum shop and through using contact speakers on the window's sill and glass to allow the layered, donated phrases of the artwork to be heard in the shop, my artwork was also placed amongst the museum objects for sale.

      Summary of academic qualifications

      • Royal College of Art, PhD candidate,, September 2016  to present, part-time.
      • Slade School of Fine Art, UCL, University of London, Higher Diploma in Printmaking and Painting, September 1986 to June 1988.
      • OCA Studio, Florence, Italy, Ontario College of Art,  Graduate studies, Painting, September 1983 to June 1984.  I was awarded a graduate (5th) year of study at OCA(DU) and a place at the institution’s off-campus location in Florence.
      • Ontario College of Art (and Design) Toronto, Canada, AOCA Diploma in Fine Art, Painting, September 1979 to June 1983.

      More information can be found on my website www.kmbosy.com