Artwork details
- Medium : Marble, Stainless Steel Without Stand
- Dimensions : Length: 12.2in, Height: 18.3in, Depth: 12.2in
About this artwork
Don't expect to read the time from this hourglass! It is made of very solid marble (Carrara).
It is just a representation of time and the possibility of manipulating this time which sometimes obsesses us. Each hour, represented by 1 element of the sculpture, can move, turn on itself or turn upside down and even be removed and placed elsewhere, wherever you want....
Look at the few photos attached of possible manipulations. And ask yourself the… question: can twisting the hourglass twist time? Does breaking the clock stop time?
There are even artist philosophers...
This sculpture, along with 3 others, was chosen by Jacques Audiard to appear in his latest film "Emilia Perez"
Polished Carrara marble. 24 removable elements. Height 46.5 cm, span 31 cm, weight 9.700 kg.
It is just a representation of time and the possibility of manipulating this time which sometimes obsesses us. Each hour, represented by 1 element of the sculpture, can move, turn on itself or turn upside down and even be removed and placed elsewhere, wherever you want....
Look at the few photos attached of possible manipulations. And ask yourself the… question: can twisting the hourglass twist time? Does breaking the clock stop time?
There are even artist philosophers...
This sculpture, along with 3 others, was chosen by Jacques Audiard to appear in his latest film "Emilia Perez"
Polished Carrara marble. 24 removable elements. Height 46.5 cm, span 31 cm, weight 9.700 kg.
Jean Paul Boyer
France
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Credentials
- International Exposure
- Art Fair Participant
- Prizewinner
- Favorited by galleries
- Featured in gallery curations
- Works on commission
« "With the modularity of my sculptures, the spectator/collector is no longer just "looking". They become actors. I wrote the score, they become my interpreters." »
Jean Paul Boyer’s sculptures have been exhibited throughout his native France, Europe and China. Boyer continuously questions how to work with the air, or the “void”, that surrounds the material of the sculpture. He denies having a style, and allows himself the freedom to delve into all interpretations and techniques. His process starts by fabricating a model with any material he happens to have on hand, then the works evolve using wood, metal, marble, cardboard, etc.