In my exploration of feminist and decolonial theory within contemporary art, I’ve noticed a pronounced emphasis on dissecting marginalised practice over those traditionally holding cultural dominance. I have become frustrated with identity-based categorisations that often limit artistic expression. As a non-white, non-male artist, I’ve felt constrained by the expectations imposed by such descriptors. Boy Art has emerged as an experimental response to this dilemma, aiming to invert language and hierarchy by focusing on the exploration of default identities.

Through collaborative efforts with artists Fin Blue and Alby D’Rozario-Gray, Boy Art seeks to challenge entrenched norms in the art world. Living with the aforementioned artists sparked a critical examination of their practices. What if marginalised voices dictated the canon? How would they navigate identity and labels? How would white men react to becoming identified in terms of race, gender, sexuality, or class? These questions form the backbone of the publication, comprising conversational interviews, language experiments, and imagery from the artists.

Conversations with the artists aim to stimulate their perception of decolonial thought, prompting reflection on the impact of identity on artistic output. By engaging early-career artists, Boy Art aims to disrupt existing paradigms and inspire future generations to reevaluate the role of identity in art. Boy Art isn’t just about challenging norms; it’s about reshaping the future landscape of the art world.

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