From 'Alison Wilding' (2018) by Jo Applin and Briony Fer:
Small sculpture is not made to be placed on pedestals. Both by convention and nature it seems set to be unobtrusive, refusing to command the space that it is in. This seems obvious enough and yet it is also not quite that straightforward.
An object like Floodlight (2001) might be small scale; it might sit on a sill rather than hold centre-stage (fig.111). It is not in spite of but precisely because it does not demand to be looked at that it becomes more rather than less compelling. What looks like yellow resin or even amber is in fact cast acrylic, a translucent material that holds the light, entrapping a luminous oval flecked with tiny bits of carbon. Like Solenoid (2015, fig.112), another sculpture about the same size, wound around
with string, it is hard to say what they are. They seem almost like prosthetic extensions of the hand’s imaginary, projecting a sense of presence that far exceeds their actual size. The object doesn’t have to be obviously ‘hand-made’ in order
for it to have this effect. Its singular intrusiveness, finally, is all the more palpable because it is unexpected.