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September 11, 2015 @ 19:00 - November 8, 2015 @ 19:00
Apesanteur II, Sculpture
‘Apesanteur’ (which can be translated as ‘Zero Gravity’ or ‘Weightlessness’) is a sculpture that flies, floats, levitates… like a star or planet.
Emma Mailova discovered a French artist and inventor Quentin Carnaille and exhibits his works for the first time in Munich in the ART & SPACE Gallery. Driven by the desire to explore the mysteries of time, Quentin Carnaille creates stunning sculptures featuring mechanisms from timepieces. His artworks raise questions about what time really is while showing the beautiful human creativity of mechanics. Art meets mechanics in this exhibition where time is in focus.
An architect converted into an artist to explore time’s mysteries.
Quentin Carnaille was born in 1984 in Roubaix, northern France, and he started developing jewellery and objects while studying architecture in Belgium.
In 2008, a year before graduating, he created a pair of cufflinks as a gift for his father. The pieces were crafted from two mechanical watch movements from the 1930’s.
The same year he obtains his Diploma of Architecture and a prize that enables him to open his own workshop/boutique in Lille (France) thanks to the label “Maison de mode”.
He lives in the boutique’s basement for a year in order to work day and night.
The young artist develops and increasingly thorough reflection around the notion of time, querying themes like infinity, relativity, the ruin, or else the origin of time reading, astronomy.
His work diversifies and thereby are born several sculptures mixing magnetism, reflection and levitation.
Driven by a desire to explore the mysteries of time, he created Apesanteur (2013), his first sculpture which used magnetic levitation. ‘Apesanteur’ (which can be translated as ‘Zero Gravity’ or ‘Weightlessness’) is a sculpture that flies, floats, levitates… like a star or planet. The levitating disk is made of thousands of tiny centennial mechanical watch components. Carnaille was able to source these stocks of vintage pieces via connections with watchmakers and antique dealers.
He then uses a powerful magnet to sort out which of the tiny pieces are magnetic and can be used for the sculpture. ‘Apesanteur’ is an invisible link between astronomy and mechanical watchmaking.
His series Origine (2014) combined the basic geometrical shapes of the sphere and the circle into a sculptural form whose aesthetics highlights the analogy between the notions of time and space.
His work is refined and enriched with his Reinterpretation series, where he revisits the great masters, from Michelangelo to Giacometti, paying tribute to their timeless masterpieces. His latest study, Apparition (2015) questions themes such as the frivolous and the ephemeral, with an artwork that disappears over time, with only its residue left to prove that it ever existed.
Quentin Carnaille’s sculptures are today exhibited in Europe, Asia and soon in the Middle East. But his aim is to move beyond continents by putting a work of art into space.
1984 | Born in Roubaix, France
2008 | Entered the art world by using watch mechanisms to create cufflink. This
Resulted in a series of jewelry celebrating human creativity and the aesthetics
2009 | Graduated from the Art Institute of Saint Luc, Tournai, Belgium
2012 | “The Last Watch” – A project featuring a timepiece whose time is frozen,
raising questions about the subjectivity of time. Exhibited at style space
2013 | Created “Apesanteur” – his first sculpture using magnetic levitation.
2014 | Created “Origine” – geometrical shapes of the sphere combined with a circle
transforms into a sculptural form whose aesthetic highlights the analogy
between the notions of time and space.
2015 | Created “Apparition” – a study which questions themes such as the frivolous
and the ephemeral, with an artwork that disappears over time, with only its
residue left to prove that it ever existed.
2015 : Le Marche du Temps, HUBLOT boutique Vendôme, Paris, France
2015 : Art Up ! Lille
2015 : Galerie Marie-Thérèse Prosperi, Luxembourg
2014 : Galerie Daniel Besseiche, Knokke, Belgium
2014 : MAD Gallery, Taipei, Taiwan
2014 : Galerie Joyce, Paris, France
2014 : Cité de la Mode et de Design, Paris, France
2014 : Art Up ! Lille
2013 : MAD Gallery, Genève, Switzerland
2013 : Lille Art Fair
QUENTIN CARNAILLE ABOUT HIS WORK
“I’ve always had a taste for manipulating things and following through on my ideas. It all started during my architecture studies, when I used mechanisms from watches to create a pair of cufflinks for my father. In architecture we can do anything as long as it’s rooted in reality. It was in that moment I understood that anything is possible with will power and hard work.
My project is to bring a touch of magic but with a scientific eye. Of course, this requires a lot of discipline. There is one thing all creations have in common: time, and infinity of reading. Time is a concept that concerns us and that we try to materialize by all means. For my part, I try to intellectualize it instinctively and systematically. Regarding the sculptures, they are always done with magnets which are magnetized in clockwork mechanisms. Note that the realization of a figurative piece requires between 500-800 magnets and a lot of patience.
These are works of art! The message speaks of obsolescence of mechanical watch making in a digital world. The world has changed in less than a century, from the value of work to the immediacy of pleasure. The artist is always the reflection of his time. I have for a long time worked on a series of reinterpretations of great works of art but also on a series questioning the origin of the most astronomical time, infinity, then the weightlessness and gravity. Among reinterpreted works is “Marche du Temps”, meaning “Walking time”.”
“What can distinguish one artist from another? – Different perception on artist’s works. What does impact on the power of perception? – Magic, coming from art, which makes one to surrender and just being dazzled by it. Works by Quentin Carnaille – have that sort of magic which magnetize and keep you enchanted for a long time.”
Erika Frey, M.A.