Ceal Floyer

Ceal Floyer (born 1968) is a Pakistani-born British visual artist.[1] She is based in Berlin, Germany.[2]

Ceal Floyer
Born1968 (age 54–55)
Karachi, Pakistan
NationalityEngland,
Pakistan
EducationGoldsmiths College
OccupationVisual artist
AwardsNam June Paik Art Center (2009)

Biography

Floyer was born in 1968 in Karachi, Pakistan.[3][4] Floyer received a BFA degree from Goldsmiths College, in 1994.[5] While studying, Floyer worked as a gallery invigilator.[6]

In 1997 she relocated to Berlin to study at the Künstlerhaus Bethanien.[2] The same year she won the Philip Morris Prize. In 2007, she won the National Gallery Prize for Young Art, and in 2009 she won the Nam June Paik Art Center Prize.[7]

In 2008 she exhibited ... 5 minutes later at the Kunst-Werke Institute for Contemporary Art and has exhibited continuously since then.[8] Her work are in the collections of the Tate,[9] the San Francisco Museum of Modern Art,[10] and MoMA.[1]

Style

Floyer consistently engages the discourse surrounding conceptual art, minimalism, post-minimalism, the ready-made and technology within her work. Her work is often remarked upon for its visual austerity that stands in stark contrast to the abundant verbal implications and how it precipitates greater conjecture.[11] For example, her work Bucket (1999) is a black bucket accompanied by the sound of a leak.[12] However, if you look closely, there is a CD player inside the bucket, emitting the sound of the leak.[12] Similarly, Matches (2010) is an artwork that places three boxes of matches on a shelf, a pun on whether or not they different boxes of matches "match".[12] In a catalogue essay for her exhibition at the Kunsthalle Bern in 1999, Berhard Fibicher wrote:

"Both Carousel and Bucket function like classical metaphors -- albeit not on a linguistic level (although the titles are often crucial to deciphering Ceal Floyer's picture puzzles), but at that of sensorial perception. The metaphor operates by conflating the distance between two objects, by revealing their similarity. Surprising similarities make us seek the characteristics shared by various objects. Ceal Floyer instrumentalises the distance between objects, or between the object and its name, reducing that distance so much by way of revealing similarity, that one object may become identical with another, or with its name".[13]

Publications

References
  1. "Ceal Floyer". The Museum of Modern Art. Retrieved 12 December 2019.
  2. Great women artists. Phaidon Press. 2019. p. 139. ISBN 978-0714878775.
  3. "Ceal Floyer at Aargauer Kunsthaus". Contemporary Art Daily. Retrieved 12 December 2019.
  4. "Ceal Floyer, British, 1968". MutualArt. Retrieved 12 December 2019.
  5. "Ceal Floyer", Lisson Gallery, Retrieved 9 November 2014.
  6. Deleuze, Anna (1 January 2011). "Nothing Works". Tate Etc. Retrieved 6 March 2019.
  7. "Ceal Floyer". AWARE Women artists / Femmes artistes. Retrieved 12 December 2019.
  8. "Ceal Floyer: Exhibitions". MutualArt. Retrieved 12 December 2019.
  9. "'Light Switch', Ceal Floyer, 1992-9". Tate. Retrieved 13 December 2019.
  10. "Ceal Floyer". SFMOMA. Retrieved 13 December 2019.
  11. Clark, Robert (11 February 2001). "Ceal Floyer, Ikon Gallery, Birmingham". The Guardian.
  12. Prince, Mark. "Ceal Floyer at Lisson", Art in America, Retrieved 17 November 2014.
  13. Fibicher, Bernhard (1999). Ceal Floyer. Bern, Switzerland: Kunsthalle Bern. pp. 8–9. ISBN 3-85780-123-9.
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