Artist Bio
b. 1990, Paris, France
Twiggy Boyer is a Florida-based artist whose work explores themes of nostalgia, memories and connections in the form of nostalgic, mixed media collages. She holds a BFA from the Maryland Institute College of Art (2012).
Her work has been exhibited at the Coral Springs Museum of Art (FL), Yale University (New Haven, CT), PxP Contemporary Gallery, and Kinhouse Gallery (Fort Wayne, IN) among others. Boyer’s work has also been featured in notable publications such as Women United Art Magazine, Assembla Magazine, and Wilder Collage Magazine. Boyer was awarded 1st place in the 2024 Women United Art Prize: Fibers & Collage category. Additionally, Boyer’s work has been featured on the covers of published books including Moral Disorder and Other Stories & Old Babes in the Woods by Margaret Atwood, Hungarian editions, Entwined: Creativity & Motherhood an Anthology by Sarah D. Shotts and on EP covers including Quicksand by the Secret Sisters and Hallelujah Hell Yeah by String Machine. Her work has been collected internationally by private collectors and resides in the permanent collection of the Doug + Laurie Kanyer Art Collection.
Beyond her practice as a visual artist, Boyer is the co-founder of Photo Trouvée Magazine, an art publication and artist platform dedicated to showcasing contemporary artists who use vintage photographs as a medium in their works.
She currently lives, works, and homeschools her daughter in Fort Lauderdale, FL.
Artist Statement
My work delves into themes of memory, connections, and nostalgia. Using carefully curated found photographs as collage elements, I investigate how my personal recollections resonate with those of others. I work with forgotten photographs often gathered from dusty thrift shops that I feel connected to. In my mixed media collages, I seek to draw parallels between the captured moments in these images and my own memories to create a series of intertwined experiences over time.
Patterns, layers, and repeated imagery in my artworks serve as visual metaphors to illustrate memories over time—adding and removing, sometimes blurred or influenced, fragments of images are cut, torn and collaged onto paper to create a composition intuitively.
Trees and floral elements often appear within my work, symbolizing both the delicate and ephemeral nature of memory, while also evoking a quiet resilience rooted in time, anchored in the earth yet constantly changing, much like memories themselves.
Ultimately, I seek to evoke a nostalgic response in viewers, inviting them to connect with their own memories. By borrowing aspects from the memories captured in found photographs, I reinterpret and weave them into new narratives, fostering a shared experience that bridges personal recollections with collective emotions.