Interests InTheory

Light Switch

Ceal Floyer is a favourite artist of mine. But I don’t like to look at a lot of her work at once. Every few months I’ll look into a piece. And I’ll think about it for a while.

Light Switch is my most recent source of splendour. I’d heard about this piece, but had never really thought about it.

Light Switch 1992-9 by Ceal Floyer born 1968


A projection of a light-switch is shown in Light Switch. Floyer sums up the the ability of the white cube to render an, otherwise functional object, useless. By positioning objects in isolated space, framing them, and labelling them with ‘do not touch’ instructions, the art object is created.

Floyer’s 2D static image of a light switch epitomises this removal of use. A light-switch is a useful fixture to a room, Light Switch as an art object has no function and serves only for it’s aesthetic attributes.

The manner of display is humorous, in true Floyer style. Apparatus heavy, the work is self aware and self mocking in its showing of gallery illusion.

It’s hard to put into words, what is done so neatly by Floyer in Light Switch. I guess I don’t need to, she says it all and gets to the point fast.

Residency Timespan Residency

(Empty Land)

I’ve spent the last few weeks on residency with Timespan in Helmsdale. The focus of my culminating exhibition while there is The Flow Country. Located between Caithness and Sutherland, this area is referred to as the Empty Lands.

It is a large expanse of hugging moss and brown.

Densely populated, with no population. I saw a herd of deer.

(Empty Land)

(Empty Land)

 Type on trace, earth, moss, stones, tin, glass, Helix rulers, pencil on squared paper, fishing wire and bog recording

Grid View

Surface Detail

The same wry humour I get from a ‘blank’ document emblazoned with Blank Page comes to mind with Empty Lands.

Labelling an area with no human inhabitants as empty, ‘writing it off’, demonstrates a need to organise and contain the natural.

Grids and created structures were a recurring theme throughout my residency at Timespan.

Drystone walling became a Tetris like challenge of allotting shapes together into relationships of reliance. Amongst this there was learning of the rigid division of land after Highland clearances and the weight of territorial boundaries.

The culmination of findings and experiences was represented through a gridded platter of loaded objects.


Blank Page Doc.


Object Detail