In appropriating and critiquing discourses of colonialism, national identity and history, Boyd’s practice celebrates and explores contemporary indigenous cultural expression and identity. As a Kudjla/Gangalu man from North Queensland, Boyd employs a wide array of technical, ideational techniques, including painting, installation and video, to unpack and challenge the historiographical memory of the Australian region.

The success of Boyd’s work speaks not only to the artistic merit of a young and capable artist, but to the ongoing need for cultural, political and aesthetic dialogue around the unsettled and unsettling roots of Australia’s foundation.

Boyd’s work can be found in major collections across Australia and abroad, including the Art Gallery of New South Wales, University of Sydney Art Collection, Museum of Contemporary Art Sydney, National Gallery of Australia, the Natural History Museum, London, and (of course) the Newcastle Art Gallery very own collection.

"EXPERIENCING [BOYD'S WORK 'YAMANI'] IS TRULY A SPECIAL EXPERIENCE. IN A DARK ROOM, PROJECTED LIGHTS AND PORTALS SWOOP AROUND YOU. EACH DOT IS A WORLD WITHIN A WORLD, THE PATTERNS THEY ASSEMBLE AND FORM IN SUCH A LIQUID MANNER MAKES ME THINK IF EACH ONE OF THESE CIRCLES WAS A LIGHT, ATTACHED TO A PERSON - AND THIS WAS ACTUALLY MADE IN REAL TIME. AS EACH LIGHT GATHERS, THEN ABSTRACTS, THE PEOPLE ARE CHOREOGRAPHING EACH INTERACTION. EACH LIGHT AND IT’S SURROUNDS, BECOMES A STORY. IT IS A VIBRANT WORK THAT MESMERIZES.ALSO TO EXPERIENCE THIS WORK IN KNOWING THAT BOYD TRANSLATES THIS STYLE INTO PHYSICAL INSTALLATIONS. 1000’S OF DIFFERING SIZE MIRRORS ARE GLUED TO BLACK WALLS, LIKE STILL FRAMES OF THE LIFE THEY REFLECT. PAINSTAKING LOOK AT HOW BEAUTIFUL STORIES CAN BE, HOW INTENSE THEY CAN HAPPEN" — D. LOBB