Sarah Wendt and Pascal Dufaux share an art practice that takes form in sculpture, media art, installation and dance. Their collaborative methodology seeks to imbue their projects with strange forms of temporality and heightened articulations of labour to draw forward an environment that melds science fiction to reality.
HORLOGE DE MIEL (work in progress) is an installation and a musical and choreographic performance. Composed of blown glass, transformed plastic waste, honey, cameras and robotic elements, the Honey Clock - both in installation and in performance - explores the visualization of the passage of time in a viscous flow.
Here, unlike the classic hourglass, the flow of sand being replaced by the uninterrupted flow of a trickle of honey, the counting of time changes from a digital principle (grain, void, grain, void ... 1, 0 , 1, 0…) to an analog principle (continuum without empty space) more faithful, from a psychological point of view, to the sensation that the passage of time imprints on consciousness. The Honey Clock offers an immersive visual and sound experience entirely based on the integration of consciousness into the moment.
The performance : a group of individuals gather around the device in order to collectively experience what Carl Jasper calls “the eternity of the present”. According to the philosopher, the present is the only real moment, where being is in immediate connection with reality, past and future existing only as vague and uncertain ideas. The Honey Clock is actually an anti-clock, in the productivist sense of the word, instead of capitalizing on the fragmentation of duration, it offers a meditation that immerses consciousness in an entropic stretch of the present moment.
Patrice Coulombe - Programming
Guillaume Arsenault - Robotics
Supported by Canada Council for the Arts and Conseil des Arts et Lettres du Québec.