new-york

Ceal Floyer

Casey Kaplan

Ceal Floyer’s work sits on a cusp between Minimalism and Conceptualism. This is a vexed spot where literality and truth to form, pushed to their logical and rhetorical conclusions, metamorphose into something elseneither object nor concept but a hybrid of both. Ink on Paper (video) (all works 1999) consists of a closely cropped shot of the artist’s forearms and hands framing a white piece of paper on a small table. Floyer wears a shirt with white sleeves; in her right hand is a black marking pen, which she holds upright on the center of the white sheet, so that it bleeds a black circle. The hand is absolutely still, and the scene is staged and shot in such a way that it looks like a documentary photograph. But it isn’t precisely a photograph. In fact, we learn—it is necessary to read to learn—that, over the course of an hour, the contents of the pen slowly empty, until it runs out of ink.

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