ELIA BOSSHARD is an installation/visual artist, and scenographer whose work centres around the construction of material and mental spaces, encompassing site-specific installation, sculptural scale models, drawing and writing. In her practice, she draws on socio-political and phenomenological aspects of space to express the felt, but often unseen, relationships we have with space/place in daily life.
Elia studied Design for Performance at the National Institute for Dramatic Arts and holds a BMus (University of New South Wales) with Honours (Australian National University). Since 2015 she has worked across theatre, dance, music and opera with credits including Deutsche Oper Berlin, Sydney Festival with Axis, Vertical Field at Resonant Bodies Festival, Restraint(s) with artist Ken Unsworth and the Australian Dance Artists, Now Now Festival, Ensemble Offspring, Backstage Music, Belvoir St Theatre 25A, Griffin Theatre, Hayes Theatre, Redline Productions, Kings Cross Theatre, NIDA, Alaska Projects, Periscope Productions, and Sydney/Melbourne Fringe Festivals.
Elia began exhibiting as a visual artist in 2019, presenting work at Sydenham International, Articulate Project Space, 107, NAS Inner West Council, Perspectives at CICA gallery (KR), Our Neon Foe, Fieldwork with Mimi Kind & Alexandra Spence, Siteworks Festival Bundanon, and Spatial Aphorisms at Studio One warehouse in Sydney.
In 2021, she co-authored the book Space Body Habit with dancer/somatic practitioner Ira Ferris, published by Frontyard - exploring the many ways we perceive or fail to perceive spaces and/or places.
Elia is the recipient of The Rockend Berlin Opera Award from The Opera Foundation for young Australians (2019), UNSW Alumni Artist In Residence (2017), and both Spirit of The Fringe Award and Critics Pick at the 2017 Sydney Fringe Festival for her work across three productions, including visualising Morton Feldman's monumental piece Three Voices.
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Elia's practice began as a flutist. Structures that underpin Western music and experimental approaches to sound are foundational to her understanding and exploration of how material and mental relationships are formed within different spaces. Collaboration with sound artists/composers has been at the core of her musical profession, and this continues to be a key aspect of her work as a visual artist.
As a flutist and musician, performance credits include: soloist with Jose Gonzales at Sydney Opera House; Austin Buckett's Imitations for 150 Years of City of Sydney at Sydney Town Hall; Salvatore Sciarrino's Circle Cut By Sound for 104 Flutes at the High Court of Australia; Now Flutes at The Australian Flute Festival including the premiere of Her Pockets Full of Inertia by Cat Hope; Trio For Flutes at Musical Alaska; Decaying Flight of the Bumblebee at Siteworks Festival Bundanon, and Backstage Music; Phillip Glass's Piece in the Shape of a Square at Beams Festival; Moment of Disappearance by Cat Hope at Carriageworks; Kaldor Public Arts Projects; ABC Classic FM’s New Music Up Late; music box project; Blue Mountains Concert Society Series; Beijing Olympic Orchestra; Alaska Orchestra; UNSW Orchestra; Penrith Symphony Orchestra; SYO’s Tango Orchestra; and Cache in Point music and installation concert series.