Emily Floyd’s (b., 1972, Australia) works are immediately inviting. Be it sculpture, print or public artwork, Floyd’s bright palette, expertly rendered geometric forms and the incorporation of text invite interaction. But while the works are accessible, they are never simple. Each is imbued with hours of research and a vast knowledge of topics ranging from alternative education, to feminist theory, to typography.
Rejecting the pressure on Australian artists to think globally, Floyd is particularly interested in local social history and draws on her Antipodean context. Born into a family of toymakers, Floyd learnt the craft early and still works with the machines she grew up with. These were not mass produced toys, but beautifully constructed wooden objects that were inspired by Eastern European traditions with roots in Modernist movements. They also connect to the idea of tactile learning, which has interested Floyd throughout her career. And just as the right toy can encourage active thinking, Floyd’s practice reveals that interaction with contemporary artworks can lead to great public benefit
and education.