Daniel Boyd’s work examines the intersections of Indigenous and colonial histories, challenging traditional perceptions through a postcolonial lens. Untitled from 2011 is an early example of the artist’s signature style, in which small dots of archival glue create hundreds of tiny lenses through which the underlying image becomes visible – in this case a portrait of the French modernist painter Henri Matisse. Boyd’s technique creates a sense of fragmentation and abstraction, prompting us to reconsider the complexities of historical figures and their legacies. The portrait of Matisse captures the famous artist in a new light, encouraging a dialogue about cultural appropriation and artistic influence.
Untitled (2011) is amongst the earlier works executed in Daniel Boyd’s now signature style, which he started working in around 2008. In this early series he depicted the portraits and studios of European artists who were influenced by non-Western art. By doing so, Boyd nods to Picasso’s contributions to modern art but also critiques the ways in which Western artists have historically engaged with and appropriated non-Western cultures. Through these portraits, Boyd invites viewers to reflect on the multifaceted relationships between art, history, and identity, highlighting the ongoing impact of colonialism on contemporary artistic practice.