For his first solo exhibition in France, Australian artist Daniel Boyd is unveiling around fifteen works at the Marian Goodman Gallery, including paintings and a large installation, created using his signature technique: myriads of small dots.
Daniel Boyd: the exhibition of a stitch virtuoso at the Marian Goodman Gallery
He works in music, accompanied by the saxophone of John Coltrane or the rapper’s poetry Saul Williams. Imbued with his readings of the Martinican philosopher Édouard Glissant as well as his reflections on the legacy of Australian imperialism and colonialism, Daniel Boyd (born in 1982), originally from Queensland in Australia, now paints in a studio near Sydney.
Nourished by his multiple ancestry (if we want to be precise: kudjala, ghungalu, wangerriburra, wakka wakka, gubbi gubbi, kuku yalanji, bundjalung and yuggera), his works are adorned with thousands of small points – “lenses”, he says, or “lenses”, which go hand in hand with an interesting reflection on the gaze.
Car Daniel Boyd intends to question artistic canons, both Western and Aboriginal, which interfere, mingle, and exchange. He works from varied sources, historical photographs, famous works, symbols, but also landscapes dear to his heart, and faces, known or anonymous.
The Australian artist’s first exhibition in France
Barely a few months after highlighting it in its New York branch, the Galerie Marian Goodman – who has officially represented him ever since – offered him this fall his very first exposition monographic in France. The hanging brings together fifteen works dated from the last two years, revealing different portraits (André Bretonthe basketball player Magic Johnson) and silhouettes of key figures in the history of art (the Apollo of Belvedere), but also a poignant landscape, that of the cove where his grandmother came from.
L’artiste also takes over the ground floor of the gallery with a large installation covering the windows with black vinyl pierced with thousands of small round holes. An echo of the lenses of his painted works, a marvelous and dizzying cosmos which plunges the large room into a changing, poetic darkness, vibrating over the hours
This monumental project echoes the “right to opacity” of Édouard Glissant, and testifies to Daniel Boyd’s desire to be part of an architecture, in other words in an already there, a heritage, and to make come from his mixed origins, his background, his family, his territories, as well as his references, his globalized culture. Mainly shown in Australia, his work has recently received significant attention in Berlin, Gropius Bauwhere the artist took over the space with an installation similar to what he offers at Marian Goodman.
“Daniel Boyd. Dream Time”, until December 21 at the Galerie Marian Goodman, Paris 3rd.
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