Annalise Bosnjak (b. 1993, Australia) works across painting, drawing, and sculptural interventions to interrogate the body as both subject and site of mediation between interior experience and external representation. Her practice deploys figurative painting—often derived from playful or deliberately provocative poses—as a means of negotiating the instability of perception and the epistemological limits of representation.
By physically manipulating the pictorial surface through rolling, warping, or stretching, Bosnjak introduces structural disruptions that foreground the materiality of the image while destabilizing its claim to veracity. In dialogue with theories of simulation, mediation, and postmodern fragmentation (including Baudrillard’s notion of the simulacrum), her work addresses the erosion of trust in images in the digital age, exposing the fragile, contingent nature of visual knowledge.
Bosnjak studied at the Victorian College of the Arts, University of Melbourne, and has taught both art practice and art history at institutions within Australia and Europe. She currently lives and practices in Paris, France and teaches art history at the Catholic University of Paris.