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Lot Essay
cf. A. Vegesack, Sticks & Stones. One Offs & Short Runs. Ron Arad: 1980-1990, exhibition catalogue, Vitra Design Museum, Weil am Rhein, 1990, pp. 48-49 for an example from this edition; Ron Arad Associates, One Off Three, London, 1993, p. 58 for an example from this edition;
A. Volker, 13 nach Memphis, New York, 1995, p. 29 for an example from this edition;
R. Guidot and O. Boissière, Ron Arad, Paris, 1997, illustration no. 20 for an example from this edition;
D. Sudjic, Ron Arad, London, 2001, pp. 23-27 for an example from this edition;
M. Bavery, Moins et Plus. Le Design dans la Collection du Fonds National d' Art Contemporain, exhibition catalogue, Centre National des Arts Plastiques, Paris, 2002, pp. 24, 25, 47 for an example from this edition; N Pasqua, E. Lemarignier, E. Navarra, Ron Arad Architecture, Paris, 2008, p. 368 for an example from this edition in the 'One Off Showrooms', London, 1983-1984; Exhibition catalogue, Ron Arad: Restless, London, 2010, p. 66 for another example from this edition.
Other examples of this model have been exhibited in Ron Arad: Restless at the Barbican Center, London, February - May 2010; Ron Arad: No Discipline at the Centre Georges Pompidou, Paris, November - March 2009; Moins et Plus: Le Design dans la Collection du Fonds National d' Art Contemporain at the Musée d' Art Moderne de Saint-Etienne Métropol, Saint Etienne, November 2002 - February 2003; Sticks & Stones: One-Offs & Short Runs, Ron Arad: 1980-1990 at the Vitra Design Museum, 1990.
An example from this edition is in the permanent collection of the Collection du Fond National d'Art Contemporain, Paris and another is on permanent loan to the Musée des Arts Décoratifs, Paris.
The haunting and twisted cornucopia, 'Shadow of Time,' projects the face of a working clock upon a nearby surface. Lighting, sculpture and timepiece, the location of the projection can be adjusted and the image itself can appear bright, dim, blurry or sharply in focus. A contorted tripod, this umbral marker of time has a ghostly countenance evoking notions of living on borrowed time or a fleeting life.
This piece also speaks to Arad's boundless sense of wonder at, and his interest in, the passage of time and memory. The fluidity of the lines Arad uses in creating his designs has been connected to the Baroque and Art Nouveau but also to the cursive writing of the Hebrew alphabet. And while somewhat angular in form, it has been suggested that the silhouette of 'The Shadow of Time' recalls the letter Resh. That particular symbol is related to Ra, the ancient Egyptian solar deity eventually identified with creation. With this reference Arad playfully reminds us of the sun's use to keep track of time and also of the dawn of time itself.
Arad explains that he was inspired to create the 'Shadow of Time' projecting wall clock when he thought he saw a clock projected on the ceiling in a showroom. It turned out only to be a patch on the ceiling, so he decided to create the apparition himself.
The 'Shadow of Time' clock is among the earliest volume-based works Arad created, and was later followed by such seminal works as 'Tinker', 'Big Easy' and 'Rolling Volume'.
A. Volker, 13 nach Memphis, New York, 1995, p. 29 for an example from this edition;
R. Guidot and O. Boissière, Ron Arad, Paris, 1997, illustration no. 20 for an example from this edition;
D. Sudjic, Ron Arad, London, 2001, pp. 23-27 for an example from this edition;
M. Bavery, Moins et Plus. Le Design dans la Collection du Fonds National d' Art Contemporain, exhibition catalogue, Centre National des Arts Plastiques, Paris, 2002, pp. 24, 25, 47 for an example from this edition; N Pasqua, E. Lemarignier, E. Navarra, Ron Arad Architecture, Paris, 2008, p. 368 for an example from this edition in the 'One Off Showrooms', London, 1983-1984; Exhibition catalogue, Ron Arad: Restless, London, 2010, p. 66 for another example from this edition.
Other examples of this model have been exhibited in Ron Arad: Restless at the Barbican Center, London, February - May 2010; Ron Arad: No Discipline at the Centre Georges Pompidou, Paris, November - March 2009; Moins et Plus: Le Design dans la Collection du Fonds National d' Art Contemporain at the Musée d' Art Moderne de Saint-Etienne Métropol, Saint Etienne, November 2002 - February 2003; Sticks & Stones: One-Offs & Short Runs, Ron Arad: 1980-1990 at the Vitra Design Museum, 1990.
An example from this edition is in the permanent collection of the Collection du Fond National d'Art Contemporain, Paris and another is on permanent loan to the Musée des Arts Décoratifs, Paris.
The haunting and twisted cornucopia, 'Shadow of Time,' projects the face of a working clock upon a nearby surface. Lighting, sculpture and timepiece, the location of the projection can be adjusted and the image itself can appear bright, dim, blurry or sharply in focus. A contorted tripod, this umbral marker of time has a ghostly countenance evoking notions of living on borrowed time or a fleeting life.
This piece also speaks to Arad's boundless sense of wonder at, and his interest in, the passage of time and memory. The fluidity of the lines Arad uses in creating his designs has been connected to the Baroque and Art Nouveau but also to the cursive writing of the Hebrew alphabet. And while somewhat angular in form, it has been suggested that the silhouette of 'The Shadow of Time' recalls the letter Resh. That particular symbol is related to Ra, the ancient Egyptian solar deity eventually identified with creation. With this reference Arad playfully reminds us of the sun's use to keep track of time and also of the dawn of time itself.
Arad explains that he was inspired to create the 'Shadow of Time' projecting wall clock when he thought he saw a clock projected on the ceiling in a showroom. It turned out only to be a patch on the ceiling, so he decided to create the apparition himself.
The 'Shadow of Time' clock is among the earliest volume-based works Arad created, and was later followed by such seminal works as 'Tinker', 'Big Easy' and 'Rolling Volume'.