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- Time Cube (2017) / Espace Art Contemporain Orenga de Gaffory, Patrimonio, FR / UV black print on digitally cut aluminum composite with inside mirror, 2.5 x 2.5 x 2.5 m / Architect: Gil Percal
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- Time Cube (2017) / Espace Art Contemporain Orenga de Gaffory, Patrimonio, FR / UV black print on digitally cut aluminum composite with inside mirror, 2.5 x 2.5 x 2.5 m / Architect: Gil Percal
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- Time Cube (2017) / Espace Art Contemporain Orenga de Gaffory, Patrimonio, FR / UV black print on digitally cut aluminum composite with inside mirror, 2.5 x 2.5 x 2.5 m / Architect: Gil Percal
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- Time Cube (2017) / Espace Art Contemporain Orenga de Gaffory, Patrimonio, FR / UV black print on digitally cut aluminum composite with inside mirror, 2.5 x 2.5 x 2.5 m / Architect: Gil Percal
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- Time Is … Junk (2017) / TZR Galerie Kai Brückner, Düsseldorf, DE / Video installation with screen, computer and custom software
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- Time Is … Junk, 2017 / Image Is Time, Galerie Pascal Janssens, Gent / Video installation with screen, computer and custom software
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- Installation view (2017) / TZR Galerie Kai Brückner, Düsseldorf, DE / Ceramic ink on multilayered cracked glass panel, 0.60 x 0.60 m each
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- Exhibition view, Image Is Time, Galerie Pascal Janssens, Gent, 2017 / Ceramic ink on multilayered cracked glass panel, 0.60 × 0.60 m (each)
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- Installation view (2017) / Espace Art Contemporain Orenga de Gaffory, Patrimonio, FR / Ceramic ink on multilayered cracked glass panel, 0.60 x 0.60 m each
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- Installation view (2017) / Espace Art Contemporain Orenga de Gaffory, Patrimonio, FR / Ceramic ink on multilayered cracked glass panel, 0.60 x 0.60 m each
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- Hack Time (2017) / Ceramic ink on multilayered cracked glass panel, 0.60 x 0.60 m
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- Time Is Junk (2017) / Ceramic ink on multilayered cracked glass panel, 0.60 x 0.60 m
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- Time Crystal (2017) / UV black print on digitally cut aluminum composite with inside mirror, 0.75 x 0.75 x 0.25 m
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- Time Crystal (2017) / UV black print on digitally cut aluminum composite with inside mirror, 0.75 x 0.75 x 0.25 m
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- Image Is Time, 2017 / Pigment print on archival paper, mounted on cut aluminum composite and blow torch burnt, 0.60 × 0.60 m
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- Burning Times (Time Is Time Was) (Future or Past), 2018 / Pigment print on archival paper, mounted on cut aluminum composite and blow torch burnt, 2 panels : 1.10 x 1.10 m each
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- Le Temps arrive du futur, 2019 / Installation view, Galerie Hengevoss-Dürkop, Art Paris, Grand Palais / Industrial print on white vinyl flooring roll / pigment print on archival paper mounted on aluminum composite /Wood and aluminum composite structure Panel: Roll: 2.00 × 9.50 m / 1.10 × 1.10 m / Structure: 2.00 × 3.25 m
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- Le Temps arrive du futur, 2019 / Installation view, Galerie Hengevoss-Dürkop, Art Paris, Grand Palais / Industrial print on white vinyl flooring roll / pigment print on archival paper mounted on aluminum composite /Wood and aluminum composite structure Panel: Roll: 2.00 × 9.50 m / 1.10 × 1.10 m / Structure: 2.00 × 3.25 m
The time of digital machines, regulated by their pure presence and their immediacy, is transforming our future, but also our past. To me, the real issue at stake is not the unlikely replacement of men by machines but more concretely, the fact that the time of digital machines is superseding ours. It is my contention that the role of today’s artists is to consider such upheavals. After all, Time is a form of space. Burroughs used to say Image is Time; and it must be said that Man did create images before inventing writing, and that the numberless images of our contemporary world preceded the characters used to communicate with computers. It is up to living artists like me to hack the time lines imposed by digital systems, bots and other forms of Artificial Intelligence!
Le temps réel des machines numériques, avec leur pure présence et leur immédiateté, est en train de transformer notre futur, mais aussi notre passé. Pour moi, le véritable enjeu n’est pas le remplacement improbable des hommes par les machines, mais plus concrètement, la transformation du temps des hommes par celui des machines numériques. Et je crois que c’est un des rôles des artistes, aujourd’hui, que d’interroger ce bouleversement. Après tout, le temps est une forme d’espace. Burroughs disait quant à lui Image is Time. L’Homme en effet a créé des images bien avant d’inventer l’écriture, et les abondantes images contemporaines sont antérieures aux caractères des codes du langage informatique. C’est à nous, artistes, de hacker le temps imposé par les systèmes numériques, les robots et l’intelligence artificielle !