selected as the first Black woman to represent the United Kingdom at the Venice Biennale; chosen by the British Council, she would produce a major solo exhibition. The British Council's director of visual arts, Emma Dexter, stated that Boyce's inclusive and powerful work would be a perfect selection for this significant time in UK history. Boyce first attended the Biennale in 2015, she was a part of curator Okwui Enwezor's "All the World's Features" exhibition. Her piece, Feeling Her Way, was awarded the Golden Lion at the 2022 exhibition. Medium In her early artistic years, Boyce used chalk and pastel to make drawings of her friends, family and herself. She graduated later to incorporate photography, graphic design, film, and caricature to convey very political messages within her work. The incorporation of collage allowed her to explore more complex pieces. It is important to note Boyce's utilization of caricature within her work. The caricature is historically meant to showcase exaggerated features of individuals. They are often grotesque and can incite negative perceptions of their subjects. By using caricatures, Boyce allows herself to reclaim them in her own image. Message Boyce's work is politically affiliated. She utilizes a variety of mediums within the same work to convey messages revolving around Black representation, perceptions of the black body and pervasive notions that arose from scientific racism. Within her bodies of work, Boyce works to convey the personal isolation that results from being black in a white society. In her work she explores notions of the Black Body as the "other". Commonly, she uses collage to convey a body of art that incites a complicated history. Boyce rose as a prominent artist in the 1980s when the Black Cultural Renaissance took place. The movement arose out of opposition to Margaret Thatcher's brand of conservatism and her cabinet's policies. Using this societal backdrop, Boyce takes conventional narratives surrounding the black body and turns it upside down. Through her art she conveys a hope to overturn ethnographic notions of race that pervaded throughout slavery and after the slaves had been emancipated. Exhibitions Solo Conversations, The Black-Art Gallery, London (1986) Sonia Boyce, Air Gallery, London (1986) Sonia Boyce: recent work, Whitechapel Art Gallery, London (1988) Something Else, Vanessa Devereux Gallery, London (1991) Do You Want To Touch?, 181 Gallery, London (1993) Sonia Boyce: PEEP, Royal Pavilion Art Gallery, Brighton (1995) Recent Sonia Boyce: La, La, La, Reed