In Untitled (SLIAFA), Daniel Boyd takes visual references from comic-strip style social studies texts from the 1950s that presented simplified, one-sided accounts of Australia’s colonial past. The work depicts a man on horseback, but the scene is obscured by Boyd’s signature pointillist technique: a dense field of dots that veil and fragment the image.

This act of visual redaction disrupts the authority of the original source material, unsettling its claim to historical certainty. By interrupting the clarity of the scene, Boyd underscores the instability of historical “truth” and invites viewers to question inherited narratives.