My Name Is Time
An artistic attempt to represent, evoke, manipulate and even transform time.
No object bears in itself the principle of its permanence.
How long does it last ? Which transformations does it go through ? How does it remain in our memory ? Is our memory the last step of its existence ?
In this stage of the research about my idea of time, I use objects coming from everyday life as glasses, coffee pot, tubes, containers or animal horns, human hair …
Realized by moulding in wax or fat, the objects are destinated to prove the contrary concept of lasting : the constant transformation. Internal electric devices produce heat an the transformation process starts by melting or burning.
These elaborated processes are meant to be seen by the public. In a place between the laboratory and the kitchen, a kind of mysterious « cooking » is taking place. The viewer is offered a physical experience looking to an object which disappears or changes to another form. Being the witness of the alteration to the successive forms of the objects, the sense of time passing is transmitted and a relationship between the viewer, the artwork an the artist is established. Through his perception the viewer becomes part of the installation.
My presence is required to activate the process which reinforces the performative aspect of this work.
This concept is explored by video films built with the principle of « image by image », enabling the human brain rebuilding the missing images to create the impression of continuity.
The concept can also be explored in real time, in an organic way by moulded objects that are eaten, in a concrete way by waxen objects that pass through different sculptural forms due to melting or deflating by electrical or candle processes until they are totally melted, leaving behind electric structures, stains, puddles or totally disappear.
The temporality of the installation depends on the different principles of transformation.
The objects become process and the material shifts to trace.
Orchestration de l’oubli
Dans Ghosts are Guests de Myriam Hornard, vidéos, photographies et performances sont autant de dispositifs pour figurer notre rapport duel au temps, entre durée et transformation, permanence et évanescence. Dans nos vies, les objets du quotidien –profanes ou sacrés, animaux ou non-animés– sont autant de « soutiens-monde » (Hornard), d’échafaudages se dressant, frêles, contre l’altération du monde. C’est pourquoi l’artiste les a moulés et reproduits –en cire de récupération ou en graisse animale– et en orchestre leur fonte et leur effondrement. De ces métamorphoses continuelles émerge la question de ce qui meurt et de ce qui demeure. Car ce travail nous rappelle que l’oubli organise notre expérience du temps tout autant que le souvenir. Le silence du rien fait écho au bruissement de la vie.