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拍品專文
Tinguely's art in the 1950s was characterized by his creation of anti-machines whose lyrical and anarchic qualities deliberately ran counter to the functionality normally associated with mechanics. The strong sense of irony and humour that inevitably forms a major part of such an approach is particularly visible within a work such as Oeuf soliloque. One of a series of mechanical reliefs on the same theme entitled Relief Oeuf d'Onocrate, the present work deliberately employs such irony in order to convey a more profound message.
As with the other works in this remarkable series, Oeuf soliloque takes the basic shape of an egg. An archetypal symbol of divinity and creation, the egg is traditionally interpreted as a source or initiator of life. Yet here, the smooth and hermetically sealed shape of an egg is represented in broken form, with the motion of the parts seemingly struggling with one another to recreate its perfect form. The egg is in the bizarre act of struggling for its own creation.
In this sense, Oeuf soliloque with its fragmented white shapes on black can be seen as a metaphor for a universe caught in a constant state of flux. Because of the variety of speeds and distances covered by the different shapes in this work, an element of Einstein's ideas on relativity is introduced. For, as Pontius Hulten has pointed out, "The shapes might reach the same position only after two months, or it might not happen for hundreds of years. It is relativity in action. There is no beginning, and no end, no past and no future, only everlasting change". (P. Hulten, A Magic Stronger than Death, London 1987)
As with the other works in this remarkable series, Oeuf soliloque takes the basic shape of an egg. An archetypal symbol of divinity and creation, the egg is traditionally interpreted as a source or initiator of life. Yet here, the smooth and hermetically sealed shape of an egg is represented in broken form, with the motion of the parts seemingly struggling with one another to recreate its perfect form. The egg is in the bizarre act of struggling for its own creation.
In this sense, Oeuf soliloque with its fragmented white shapes on black can be seen as a metaphor for a universe caught in a constant state of flux. Because of the variety of speeds and distances covered by the different shapes in this work, an element of Einstein's ideas on relativity is introduced. For, as Pontius Hulten has pointed out, "The shapes might reach the same position only after two months, or it might not happen for hundreds of years. It is relativity in action. There is no beginning, and no end, no past and no future, only everlasting change". (P. Hulten, A Magic Stronger than Death, London 1987)