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TIME FOR TIME
This work is born from reflecting on memories of old houses and childhood, when time felt completely different, intangible, ungraspable, and in some ways nonexistent. Back then, time was not something I measured with a clock but something I heard - the rhythm of ticking, like birdsong, natural yet exhausting, relentless in its presence. It was the sound of childhood, of aging, of those who have lived through time itself.
The piece unfolds in two parts:
The first part of the work is a series of three round clocks, each cast entirely in concrete, a material I return to often because of its monumentality and weight. In this form, the clocks become frozen, monuments to suspended time. They recall Goethe’s longing to stop time at its most beautiful, yet also the impossibility of doing so, for to stop it is to kill it.
The second is a set of three speakers that work together to tell time through sound. Each one announces a different unit of time in my own voice. One speaker counts seconds—one, two, three, up to sixty, then again. Another counts minutes, and another, more slowly, marks the hours, stretching them into long pauses that seem to bend time itself. Together, the voices function as a kind of clock, but instead of hands or digits, time becomes a living, audible presence. It creates annimmersive, almost hypnotic experience—time for the ear rather than the eye. It captures the relentlessness of time passing while also embodying memory, nostalgia, and the unease of childhood recollections— the ticking of old clocks, the way time shifts and grows heavier as we age.
The concrete clocks are muted, immovable, heavy epitaphs to the past, while my voice in the speakers continues as something disembodied, an eternal sound of numbers, a woman’s voice marking the rhythm of existence. Together, the two parts of the piece hold time as both unstoppable motion and immovable monument—something we hear, something we carry, and something we can never escape.
concrete
d - 38 cm
2025