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This body, which has no name or title other than "exhibition" ("graduation exhibition"), is a concentrated effort to create a place where time is compressed to a minimum- time that shrinks the distance between past, present and future. Sixty digital clocks count the passing of minutes in the pace of seconds. Likewise, the objects are also condensed: created as saturated things, materially sealed and dense; born as artifacts- worn and broken from the moment they begin to be objects in the world. They were created in a process entailing the danger of destruction: hollow objects become molds and remain as brittle shells containing heavy matter; bones are burnt at temperatures exceeding 1100 degrees Celsius to the verge of turning to ash, liquid clay is preserved damp in oily shoe polish.
Casting acts as a major technique in the making of this body. I have a distinct inclination to materials that consolidate, with a preference to compounds over mixtures. Meaning, material that has been transformed, whose state of matter determines its identity, and whose particles cannot be taken apart after they have become one.
Principally, the technique of casting is based on two roles: container and contained. This technical detail fulfills physical relations within the objects and between them. The technique through which the sculptures are created is not separate from their intent or significance, rather it implements them.
The clocks are a closed system of 61 clocks; each one has its own individual operating system. 60 clocks display all the seconds in a minute, from 00 to 59- to each clock a set second. The clocks are synchronized, so that in the time of a single second 60 seconds pass. Minutes pass in the time of seconds, hours pass in the time of minutes. The 61st clock counts the passing of the hours in a day, from 00:00 to 23:00, and back around for the day after, and the one after that, and the one after that… Simply put, time in its normal representational form is divided by 60.