Daniel Boyd’s practice is recognized for its engagement with the pluralities of time, space, culture, and personal experience. At once intimate, historical, and metaphysical in its scope, the artist’s paintings, video works, and installations mine the complexity of perspectives through which we—individually and collectively—assemble cultural and personal memory.
While many of the discussions surrounding Boyd’s work have touched on his particular iteration of post-colonialist history painting via the lens of his First Nations Australian and Ni-Vanuatuan heritage, there is far more to his distinctive pointillist technique than a simple rumination on cultural erasure. The dark matter that enshrouds the flashes of perceptual detail in Boyd’s works is as much a central philosophical and conceptual pillar of his practice as the astronomical fields, landscapes, portraits, reflections, and refractions of light that lie amidst and beneath it. Quietly and poetically, he traverses the strands of our psychohistorical ellipses.