Born 31 years ago in Roubaix, Quentin Carnaille has quicklybecome a force on the art scene in the north of France. Formerly an architecture student, Carnaille has always been fascinated by how thingsfunction. Hisearliestworkswereinfluenced by clockworkmechanisms, whichhedivertedfromtheirprimary use to createjewellery and accessories. He wouldsoon move on to making sculptures and largerworkswith the sameaesthetic and inspiration.
Contemporaneity and futuristicideas have informedCarnaille’sworkfrom the start, withhim building on his initial focus on mankind’spast and origins.
There is a metaphysical dimension to hiswork as well as a real reflection on art history. Indeed, the artistreinterpretssomeclassics of Western art, offering a new perspective. For example, hisanthropomorphic sculptures reference Giacometti whilebeingquintessentially Quentin Carnaille. In this regard, postmodernismpermeates certain works by Carnaille. This approachisenhanced by the concepts of readymades and foundobjects.
In Garde-Temps, a watchdoes not tell time: here, Carnaille transforms a manufacturedobjectwith a specificfunctioninto a work of art with a poetic message about time and itsrelativity.
Apparition, unveiled in 2015is an evolution in the artist’swork. The watch parts, no longer heldtogether by magnets, are trapped in ice. The transformation of matter, from water to ice, is an allegory of time.
Apparition, symbolising the ephemeral nature of a work of art, isabove all a radical demonstration of the destruction of the object in the artist’swork. This sculpture foreshadowed an important shift in Carnaille’screating: noworientedtowards a form of conceptualminimalism, itisfullyillustrated in Introspection.