In a text that anchors Ceal Floyer’s work in a conceptual and phenomenological context, Iwona Blazwick points to this artist’s central preoccupation with different ways of seeing. This is also the subject of the work Throw (1997), which is composed of a light projection. Gallery and studio floors are frequently stained with splashes of paint. In this work, Floyer creates a rather glamorous splash by replacing paint with light, her medium of choice. A splash is projected onto the floor by means of a stage light. Floyer’s strategies recall those of the structuralist filmmakers, who incorporated the film projector into their films; she too sheds light on the source of the illusion. At the same time, she transforms what would normally be regarded as an accidental stain into a staged event – literally turning a spotlight on a spot of light.
