(New Zealand, England 1947– )
151.0 x 121.0cm image; 175.8 x 145.2 x 6.6cm frame
This photograph is typical of Boyd Webb's pioneering work with performance and photography. The works are theatrical in the direct and obvious sense that they are records of staged events. The artist uses sculptural tableaux or pictorial installations to touch on global issues of our time: pollution, proliferation, entropy and extinction. Arranged specifically to be photographed, they function like a game of visual consequences, their narratives open ended. In his studio Webb conjures boundless space, an entire layered universe. Yet the vision is microcosmic, a constructed, a simplified version of the real world. This surrealist strategy allows viewers to make up their own sequels to the implied action.
Art Gallery Handbook, 1994.
Adelaide Festival of Arts, Boyd Webb 1986, Adelaide, 1986, (colour illus.).
Anthony Bond and Victoria Lynn, The Art Gallery of New South Wales collections, 'Contemporary Practice - Here, There, Everywhere ...', pg. 229-285, Sydney, 1994, 278 (colour illus.).
Jenny Harper, Boyd Webb 1997, Auckland, 1997, 92 (colour illus.).
John Hansard Gallery, University of Southampton, L'indifférent 1985, England, 1985.
Gerhard Johann Lischka, Jean Hurbert Martin and Hans-Christoph von Tavel, Alles und noch viel mehr: das poetische ABC 1985, Bern, 1985.
Stuart Morgan, Boyd Webb 1987, 'Global Strategy', pg.9-20, London, 1987, 19, 57 (colour illus.).
Alles und noch viel mehr: das poetische ABC, Kunstmuseum Bern, Bern, May 1985–May 1985
A L'indifferent, John Hansard Gallery, University of Southampton, Nov 1985–Nov 1985
International works from the permanent collection, Art Gallery of New South Wales, Sydney, 12 Jan 1991–14 May 1991
A Constructed Reality: Aspects of Contemporary Photography, National Gallery of Victoria [St Kilda Road], Melbourne, 12 Dec 1991–17 Feb 1992