A steel metal grid is suspended from the ceiling using blue rope and metal carbine hooks. Thin pressed aluminium sheets are hung off the grid using threaded metal rods. A piece of sheep wool sits on top of the grid

Patricia Boyd, Ceiling Analysis II (detail) (2022). Steel, aluminium, sheep wool, rope, carbine hooks, metal fixings. 102 x 29 x 237 in.

Patricia L. Boyd’s work finds form through an inquiry into its own matters of production and presentation, and often extends to address the infrastructures—physical, economic, institutional—within which it is made and held. Encompassing sculpture, photography, writing and video, the work is often characterised by a display of the negative: through the use of inversion, elision, removal.

Boyd's recent solo exhibitions include Secession, Vienna (2022); Kunstverein München (2021), Front Desk Apparatus, New York (2020), Christian Andersen, Copenhagen (2019), Cell Project Space (with Rosa Aiello), London (2019), 1856, Melbourne (2018), Potts, Los Angeles (2018), 80WSE, New York (2017), Modern Art Oxford, Oxford (2014). Previous group exhibitions include Amant Foundation, New York (2022); Braunsfelder, Cologne (2022); Kunstverein Brauschweig (2021); Stadtgalerie Bern (2020), Bonner Kunstverein (2019), Secession, Vienna (2018), The Wattis Institute for Contemporary Art, San Francisco (2017), Steirischer Herbst, Graz (2014), 12th Lyon Biennale (2013). Boyd’s work has been reviewed in Artforum, Art Monthly, ArtReview, Frieze, Kaleidoscope Magazine, Mousse Magazine, and Texte zur Kunst.