"You could say I’m an artist with a suitcase. There is this 19th-century idea of an artist in their studio that we’re unable to let go of...but because I work with people I usually go to where those people are. I’m on the road all the time."
The emergence of a distinct voice
Born on April 15, 1962, in London’s East End, Sonia Boyce was the youngest of seven children in a close-knit family with Afro-Caribbean roots. Her parents, immigrants from Barbados and Guyana, instilled in her the importance of hard work, education, and cultural pride. Her interest in art began at a young age, and despite limited resources and support, she pursued her passion with unwavering determination.
Boyce attended East Ham College of Technology and later enrolled at Stourbridge College, where she earned a Bachelor of Arts in Fine Art in 1983.
Sonia Boyce’s emergence as an artist coincided with a critical time in British history. The 1980s saw an increasing focus on race relations and the role of minority groups within British society, as well as a growing interest in feminist theory. Boyce’s work spoke directly to these issues, combining her experiences as a Black British woman with broader concerns about identity and representation.
Her early work often depicted the everyday lives of Black families, presenting intimate and poignant portrayals that challenged conventional representations of Black British identity. Boyce’s 1987 piece, “She Ain’t Holdin’ Them Up, She’s Holdin’ On: Some English Rose,” remains one of her most famous works. In this drawing, Boyce presents a powerful representation of herself as a strong woman supporting a family, balancing delicately on her hands. The artwork explores the complex challenge of maintaining a connection to one’s family identity while navigating a different life path.
Boyce’s choice of attire is significant. Through the pattern on her dress, Boyce creates a new symbol that reflects her unique individual identity.
She wears a pink dress adorned with black roses, combining elements that hold deep meaning. The rose, traditionally associated with England, represents her British heritage. However, the black colour serves as a reminder of her own background. The rose itself is a symbol of femininity, but the presence of thorns hints at hidden strength and resilience.
Her attire encompasses her Black British nationality and female gender identity, merging these aspects into a cohesive representation of self. This drawing invites contemplation on the complexities of identity and the ways in which we forge our own narratives.
Expanding horizons and collaborative practice
By the early 1990s, Boyce’s work had evolved to encompass a more collaborative and experimental approach. She began to incorporate photography, performance, and video into her practice, reflecting a broader shift in the British art scene toward mixed-media and interdisciplinary work. This new direction allowed Boyce to engage with her audience in innovative ways, inviting them to participate in the creation and interpretation of her art.
One of her most celebrated collaborative projects is “Devotional Collection,” an ongoing archive of Black British women in the music industry. Initiated in 1999, this evolving collection features contributions from over 200 individuals, including musicians, artists, and members of the public. The project reflects Boyce’s commitment to highlighting underrepresented voices and fostering a sense of community and belonging.
Boyce’s 2018 work, “Six Acts”, exemplifies her collaborative ethos. The project involved six artists reinterpreting 18th- and 19th-century paintings in Manchester Art Gallery’s collection, challenging traditional notions of the politics of gender, race and sexuality. The resulting video installation showcased the creative power of collaboration, offering a fresh perspective on the artworks and their relevance in contemporary society.
