home is where the heart is, a continuing series of works
Karen Bosy
Project overview —

My practice is within the traditions of experimental documentary and structural filmmaking. While experimental filmmaking encompasses narrative forms, my videos and installation works complicate the notion of narrative found in documentary practice. The video screened here, home is where the heart is, is one of a series of video and photographic works that document my walking path and a section of wetland forest, as spatial and material. In this section of forest, a duo of birch trees stand near the organised verticality of a utility pole. One duet partner takes a more errant position each time. My practice attends to structures as frames in the landscape to put pressure on the frame(s) in accord with structural film’s enquiry into its own material practices and materialism in film (Rees, 2020). Cultural geography theorised space/time as made up of material practices (Massey, 2015). My practice resists linearity in the sense that it complicates the final form and this quality of materiality is shown in the dispersed form of the videos as they document presence and the landscape.

References

Massey, Doreen B. (2005) For Space. London; Thousand Oaks, Calif: SAGE.

Rees, Alan L. (2020) Fields of View: Film, Art and Spectatorship. London New York: Bloomsbury Publishing Plc.

Biography

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’ (Lingwood quoted in Kester, Rachel Whitread’s House, 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, broadcast during after school hours. In contrast with this experience of the image as a productive space, later my school selected me and other girls to play the pirates for a commercial promoting Birds Eye ready-made food for children, which was also broadcast in the UK. This experience highlighted for me the role of landscape within the potential of moving image.

Subsequently back in Toronto, I studied painting at OCA(DU) and then 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. My main field of reference is experimental (structural) film. I use video, photography, graphite drawings and installation within my practice-based research. My paper on the subject of the monument in art practice and daydreaming is relevant here and can be found at https://researchonline.rca.ac.uk/444. Links to my published writing can also be found on Instagram @kmbosy and my blog: www.kmbosy.com/blog.