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Emily Floyd’s Signature Work

The big black bunny is clearly a toy; it’s blocky features and simplified form is a result of it being a toy and not modern art. I had only seen in Emily Floyd Signature Work (Rabbit) in a photograph that mislead me about its size. As always with these things I was expecting something larger but Melbourne’s Docklands with it’s multi-story buildings is so large that the rabbit would have to be huge to compete.

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Emily Floyd, Signature Work, 2004

When I first saw Floyd’s work years ago in Anna Schwartz Gallery I didn’t like it. I haven’t liked her subsequent exhibition either including; The Dawn, a solo survey exhibition at the NGV in 2014. All the bright colours and toy like forms seem prosaic when you realise the dull question that they are based on: if art is about communication can we learn from it?

Her public sculpture made me reconsider work. Her Public Art Project (Bird and Worm) on EastLink or her Signature Piece (Rabbit) in Docklands work appear to be fun contemporary public sculptures. They work in that they are effective at creating recognisable landmarks for the otherwise anonymous locations.

Her gallery work is different; you aren’t going past it in a car. It is somehow different even when she is using the same toy rabbit form. I keep hoping for fun, irony, or play in them but there is never enough to balance out the serious pedagogical inspiration of her work. The art-speak about her work reduces the fun even more. Phrases like: “text-based sculptures and pedagogically-inspired works which combine formal concerns with an interest in the legacies of modernism.” Is there that much depth to Floyd’s work? Possibly there is but it does suck all the fun out of it. The deeper that Floyd attempts to make her art, the shallower it seems to me.

In her 2015 exhibition Field Libraries, the pedagogical inspiration of her work is clear, as she turned her brightly coloured play blocks into book shelves. The painted aluminium shelves were stacked with booklets printed, “fair use” from the internet. A series of uniques state screen prints illustrating books, representing the idea of Floyd’s ongoing library. Subjects in the library include ‘Zombie Marxism’ and ‘Feminist Autonomism.’

Emily Floyd’s sculptures might look like toys but this is serious art. It is a bit too serious, too prosaic in its pedantic intent. Floyd is not playing with these big toys, she is using them to demonstrate ideas. The more you look at her art the less fun you have.

Does everything have to be an educational experience? What have you learnt from this?

Emily Floyd, Public Art Strategy, 2006 (19 EastLink)

Emily Floyd, Public Art Project (Bird and Worm) 2006, photograph courtesy of EastLink

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About Mark Holsworth

Writer, independent researcher and artist, Mark Holsworth is the author of the book Sculptures of Melbourne. View all posts by Mark Holsworth

2 responses to “Emily Floyd’s Signature Work

  • Eugene

    Her EastLink piece I particularly like. I believe it draws upon a along lineage of Melbourne public sculpture going all the way back to the “Yellow Peril” and some of the late Inge King’s hard abstract works. It’s when her references become personal (her father was apparently a toy maker) that it takes on the sense of joy. Otherwise, yeah, her work can be pretty dry and academic.

  • Mark Holsworth

    Yes, Bird and Worm works so well on EastLink and it does use the Robertson-Swann’s yellow and King’s black, so it really plays with references to the history of Melbourne’s public sculpture.

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