BIOGRAPHY
Louisa Boyd is a multidisciplinary artist who works with print and sculpture. She has been a professional artist for more than twenty years, exhibiting both nationally and internationally. Her work is held in public and private collections around the world and she is regularly selected for prestigious juried exhibitions.
Recent exhibition highlights include: PaperWorks, Royal West of England Academy (2025), New Light Summer Exhibition (2025), Wells Contemporary (2025), London Art Fair Encounters (2023), Royal Academy Summer Exhibition (2023, 2019, 2017 and 2014), Woolwich Contemporary Print Fair ( 2018-2023), New Light Prize Exhibition (2020/2021) and the Flourish Award Exhibition (2020/2021) where she was awarded the Great Art Prize.
In 2023, Louisa was invited to exhibit a sculptural work in Just Like Escher at Escher in the Palace in The Netherlands. The exhibition featured 36 international artists, including Damian Hirst, Chris Ofili, Alexander McQueen and M.C. Escher and celebrated the 125th Anniversary of Escher’s birth.
Also in 2023, she was awarded a Queen Elizabeth Scholarship Trust (QEST) scholarship to further develop her printmaking practice.
ARTIST STATEMENT
My work explores the persistent human desire to belong. I’m interested in how we use our surroundings, especially the natural world to navigate place, identity and connection. Celestial symbols, sacred geometry, and map-like imagery appear throughout my work as a way to describe a sense of belonging.
My prints and sculptures are inspired by cartography, both celestial and terrestrial. The sculptural forms are built around sacred geometry, using mathematical structures that echo the underlying patterns of the world we inhabit. I frequently work with the Platonic Solids, following Plato’s idea that each of the five regular polyhedra corresponds to an element of nature: earth, air, fire, water and aether.
My etchings are created on copper plates using a combination of deep-etch processes and intuitive, automatic drawing into the grounds. By layering hand-drawn marks made with traditional tools and printmaking techniques with more abstract painterly gestures, the finished pieces become a visual fusion of historic and contemporary ideas.
Traditional methods are an important part of my practice. I’ve spent time learning heritage crafts such as etching, bookbinding and hand marbling. Integrating these techniques allows me to explore belonging from a cultural and historical perspective, while presenting these methods in a distinctly contemporary context.
