Born 31 years ago in Roubaix, Quentin Carnaille has quickly become a force on the art scene in the north of France. Formerly an architecture student, Carnaille has always been fascinated by how things function. His earliest works were influenced by clockwork mechanisms, which he diverted from their primary use to create jewellery and accessories. He would soon move on to making sculptures and larger works with the same a esthetic and inspiration.
Contemporaneity and futuristic ideas have informed Carnaille’s work from the start, with him building on his initial focus on mankind’s past and origins.
There is a metaphysical dimension to his work as well as a real reflection on art history. Indeed, the artist reinterprets some classics of Western art, offering a new perspective. For example, his anthropomorphic sculptures reference Giacometti while being quint essentially Quentin Carnaille. In this regard, postmodern is impermeates certain works by Carnaille. This approach is enhanced by the concepts of ready mades and found objects.
In Garde-Temps, a watch does not tell time: here, Carnaille transforms a manufactured object with a specific function into a work of art with a poetic message about time and its relativity.
Apparition, unveiled in 2015 is an evolution in the artist’s work. The watch parts, no longer held together 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, is above all a radical demonstration of the destruction of the object in the artist’s work. This sculpture foreshadowed an important shift in Carnaille’s creating: now oriented to wards a form of conceptual minimalism, it is fully illustrated in Introspection.