Press-Release

To be as adherent as possible, a text on Ceal Floyer should contain only three or four words, but it is almost impossible to find those words. In fact all the texts about the Ceal Floyer’s work are descriptions of Ceal Floyer’s works, because her formal and conceptual atomism tends to transform every attempt of explanation into a pathetic appendix.
Ceal Floyer’s work is a little like asking someone who is eating something unmistakable warm and salted: “How is what are you eating?” and that someone simply answers: “it is warm and salted” making you nervous.
Ceal’s work actuates itself in such an exact, essential and is endowed with a sense of proposition (in relation to the laws of logic) that it crashes against reality becoming a paradox, which loses its meaning.
The formally perfect discourse of Ceal skeptically plays at destroying every artificiality which has the presumption of being inherent to things, to world that happens.
Ceal tries to kill the same idea of representation that is at the base of every principle of human knowledge: she seems to say to us that our intentions and desires to confer meanings on to signs, imagines, sounds, but the world, admitting that it exists, is independent of our preoccupation.
For Ceal, to be means to conceive and she demonstrates it to us with her ferocious and de stabilizing intelligence, but after she redeems herself by giving us something that is similar to beauty and perhaps poetry, also if it is only a receipt under a light that she calls Monochrome Till Receipt (White); or a bucket that seems to collect a real dripping from the ceiling, when in fact it only contains a CD player that produces the sound of water drops (Bucket); or some blots of colored ink on paper (Ink on paper).
Ceal handles our imagination evoking a presence that doesn’t exist simply with a ray of light projected under a door. Her playfulness is built on few elements that she dominates.
In the end one can say, risking to seem contrary to democracy, that Ceal isn’t an artist for everyone, to love her one must understand her, but to understand her one must accept her like one could accept a child with an impossible behavior.

Cooperation with:

Comune di Genova, politiche giovanili, centro della creativita’ (Genoa City Council, center for creativity)