British artist Sonia Boyce sat down with Artnet News to discuss her work, its reception, and how she thinks the Venice biennale may be received:
There was a moment early on in Sonia Boyce’s career when she decided that her life didn’t have to be the most important part of her work. Before that, Boyce had been making figurative drawings reflecting on her experiences as a Black woman. Because the art world so quickly embraced those pieces, made in the ’80s while Boyce was actively involved in the U.K.
You’ve mentioned how it’s been a challenge projecting yourself onto the space at the Venice Biennale. Is that due to who has been chosen in the past? Or, perhaps about how people used to question your nationality growing up? You also talked about how you’ve felt some pressure to make something to represent the different facets of art-making in the U.K. How do you deal with that pressure? How does it ultimately shape your approach?
You’ve also been honest about your trepidation around exhibiting in Venice, specifically saying that you were worried it’ll be a failure. What do success and failure mean in this context? There are some artists who will be shown at Venice who have been shown many times. This is my second time being shown during the Venice Biennale. Well-known artists continue to be shown not only in Venice but in many places around the world. That’s how the field works.
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