On one side: a large cube made up of 125 pieces that are also cubic in shape. On the other side: 125 small cubes, the same size as those which make up the large block, which can be arranged in different compositions. The cubes are on a steel plate which they adhere to by magnetic attraction, thus creating a changing painting in which each modification made by the artist works as a challenge to the initial balance.
Singularity is the mirroring of a mega-cube, in which the sum of the units on one side is equal to those that form what one may call the whole on the other side, yet the units are potentially free to move.
This formal opposition refers to a series of conceptual oppositions which are more or less familiar to the viewer: order and disorder; dictatorship and anarchy; uniformity and diversity; oppression and freedom… While viewing the piece, the onlooker is made aware of diverse phenomena that shed light on the nature of the two sets and the relationships they maintain.
Thus the mega-cube, compact and irremovable, may appear to the viewer as an image of order, yet it is an order whose counterpart is suffocation of the units by the mass effect. On the other hand, the small cubes on the steel plate may seem to be arranged randomly until one perceives the invisible framework which links them together, a kind of controlled anarchy in which multiplicity becomes wealth and apparent disorder, a sign of effective health.
A logical development in Quentin Carnaille’s practice, in that it continues to question the place of man both as a unit and a part of society, Singularity gives a new form to the concerns that run through Carnaille’s work. The result is a strong sense of warning against some of man’s temptations, such as excessive standardisation or rationalisation; above all, Singularity invites us to reflect upon the possibility of the organisation of society by an “invisible hand”, or how personal interests may sometimes end up competing with the common good.