Guy Martin à Beckett Boyd (12 June 1923 – 26 April 1988) was an Australian potter and figurative sculptor noted for his ability to represent sensuality in the female nude with fluid forms.

After the privations of the Great Depression followed by a disastrous fire at his father's pottery, where he was assistant, in 1937 Boyd found work first as a jeweller's apprentice, then in a number of jobs, including at a nuts and bolts factory and as a builder's labourer.

[4] In 1941–46 he served in the Australian Army Reserve, however as a committed pacifist he was deployed as a draughtsman in Melbourne and then at Fortuna mansion in Bendigo, before conflicts with his superiors resulted in his being posted interstate in 1944 to the 103rd Convalescent Depot, Ingleburn, where he volunteered[2] to teach pottery to the patients.

He was recognised with a large format monograph, Guy Boyd written by gallerist Anne Von Bertouch and art historian Patrick Hutchins and published by Lansdowne Press.

Boyd also experimented with an electrolytic deposition of silver combined with a layer of copper, but abandoned that after finding that applying heated carbon tetrachloride to dissolve the wax from the metal shell was affecting his health.

It is five and a half metres in width, modelled in clay, cast in plaster and then sand-cast in aluminium in 27 sections, coated in sterling silver over nickel and copper layers, then oxidised before being bolted together and the joins concealed.

[2] Bernard Smith in 1965 noted that "Stance and gesture are caught lyrically and sensuously" by Boyd, and he admired the way "oxidised surfaces, burnished along the ridges, achieve a jewel-like beauty of texture".

[20] Elwyn Lynn had a mixed reaction to Boyd's early exhibition at Bonython's Hungry Horse Gallery in a review in The Australian, 4 June 1966; "He is best in the silvery, blackened, self-contained pieces when the figure is preoccupied with some simple, inevitable gesture.

Lapses are profound: one gauche bronze dancing girl must be destined for a suburban garden and a mother and child is embarrassing in execution and sentiment", but goes on to admit "facile virtuosity is countered by breaking surfaces with light catching impressionist touches [...] lissom yet awkward poses [...] delight in their skill"[2] Reviewing one of Boyd's last shows, at Beaver Galleries in Canberra, Sacha Grishin writing in The Canberra Times in 1987, contrasts the sculptor's Boyd family inheritance of "figurative humanism" against the prevailing abstract sculpture imitative of Anthony Caro.

Describing Boyd as never having been a "fashionable sculptor" he praises his avoidance of "slick" realism and his concentration on the human figure as a "vehicle for communicating ideas", his ability to convey beauty without "sentimentalism" and to represent freedom in movement through "an exciting resolution of the arrangement of volumes within graceful floating lines".

His campaigns resulted in the defeat of a proposal to build a marina at Brighton[23] and the halting of a high-pressure oil pipeline that was to be extended by Esso and BHP under Port Phillip Bay.