Timepieces by Stephen Haley

Timepieces is an exhibition of prints and paintings from artist Stephen Haley that focus on aspects of time.

Past Time Present Painting, 2015, Oil on Linen, 61.5 x 61.5 cms

6-20 April 2016
LAB-14 Gallery
700 Swanston Street, Carlton

There will be a special viewing of the exhibition on Tuesday 12 April, 6pm-7.30pm as part of ThoughtLAB-14: To Kill Time.

When physicists tell us that time as we perceive it doesn’t really exist, we have difficulty reconciling this fact with our own lived experience. For most of us, time is one of the major avenues through which we can navigate the world. Inwardly tracking time through memories and happenings, we can judge our progress, and importantly, decide how we best spend our finite time on Earth.

Timepieces is an exhibition of prints and paintings from artist Stephen Haley that focus on aspects of time.

Three works are from the 2009 series of ‘virtual photographs’ One Second, More. Constructed using virtual 3D modeling software and then photographically printed, here the artist sought to picture just how many things are manufactured world-wide in just one second. Extensively researched, from a minimum of 3 data sets in each case, the total numbers for the year 2009 were established and divided by 31,536,000 – the number of seconds in a year. The results are represented in each title. The works here include toilet paper rolls, the wild fish catch (in kilos) and internet searches, but others in the series included crude oil barrels, plastic water bottles, plastic bags, military spending and amalgam work of all these objects. Given the formidable numbers – time, it seems, is running out.

The paintings are from an upcoming exhibition – World Standard – that engages with the routinisation, globalisation and rationalisation of many aspects of contemporary existence – space and time included. In Progress Bar, for instance, we are confronted with a now ubiquitous marker of wait-time, the computer progress bar that seems never to load. Painting itself is a highly time consuming process and seems strangely anachronistic in a world of simultaneity – of ATM instant money transfers, electronic memories and digital versions of analogue clocks – but it is precisely painting’s distance from fast-time that makes it such a poignant commentator.