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Conoid Hourglass - Print
View In My Room

VIEW IN MY ROOM

Conoid Hourglass Print

Djordje Aralica

Serbia

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12 x 16 in ($95)

12 x 16 in ($95)

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About The Artwork

Featured in: https://www.youtube.com/watch?v=JgOtV6mVLFU https://www.youtube.com/watch?v=j_bak4e3_HA Djordje Aralica: WaterAirTime New chains by Djordje Aralica! On this occasion, world constitutive elements – water, air, and time – presented in the title as a single ideogram, are appropriately packed in elementary forms of a bottle, glass, ball, and an hourglass. Their expanding, spilling, and flowing content acquired the shape of its glass or leather receptacles, transparency, or elasticity, of which does not disguise its changeable character. Instead of these predictable materials, the artist introduces a curtain of chains, devoid of any utilitarian purpose. Once again, we submerge into Aralica’s, at first sight l’art pour l’art, manipulation of his appealing medium overwhelmed by visual impressions: verism, detail, texture, material, as well as the unexpected transformation of ideal form. His hourglasses also conceal a small audio event: the artist’s time–sand in a form of an internal chain converts the hourglass into a rattle! Suddenly, all the glasses, bottles, and balls start ringing, bubbling, and fizzing in our ears, revealing thus their real content. Is this Aralica’s laconic wit that celebrates the easiness of life, escapism, or lightheartedness, or could it be a call for discerning a curtain which separates us from that which imparts meaning to our existence, and which beats, breaths, boils, and leaks independently from us? Marina Mihaljević, PhD, Art Historian

Details & Dimensions

Print:Giclee on Canvas

Size:12 W x 16 H x 1.25 D in

Frame:Not Applicable

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Usually, the place where I live at any given moment, with its daily routines, dictates the choice of my subject matter. As a rule, I am interested in the objects of everyday life, which appear to be surprisingly uniform wherever you go. In my work, they unite collective and personal experience. I never recycle real objects in a manner of an assemblage, but rather present my own associative, monumentalized interpretation of their form. I choose medium, mode of craftsmanship, both of which suggest underlying narrative context, but also provide monumental quality of architecture. My objects are reduced to a gallery format, but I see them as large-scale urban sculptures evocative of common human activities.

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