James Gascoigne, The Time is Now (ART & OBJECTS 2025)

Photos:

Cro+Kow photography

Video tour

https://www.instagram.com/reel/DK9nSr3IzBx/?igsh=NTFsZW11N2wwYmZw

Country

United Kingdom (Great Britain)

Introduction The piece is intended as a new take on a long-case clock that echoes traditional forms but eschews classical design language. The piece is constructed from more than 300 individual elements - juxtaposing richly traditional burr veneers alongside unashamedly bright, candy-like, acrylic - in a deliberately anthropomorphic composition. The many contradictions, old/new, natural/artificial, bright/dark, solid/hollow etc, may be seen as symbolic of the competing elements that comprise the human character. Yet despite these disparate elements, use of familiar, readily identifiable forms ensures the work remains cohesive with a sense of movement, playfulness and fun. Born out of a desire to produce a functioning cabinet which fulfilled the brief, but which allowed maximum design freedom. Inspiration was drawn from postmodern architecture and product design, in particular the work of James Stirling (see Neue Staatsgalerie – use of alternating stone courses which contrast with primary-coloured elements) and Michael Graves (9093 Kettle for Alessi – circular forms interacting with conical shapes and contrasting colours). The title of the piece celebrates the idea that time is finite for us all, so when an opportunity arises to pursue a passion – as has been the case here – one should grasp it with both hands! Description of Design Elements and Materials/Finishes Employed The original brief was developed to comply with the Chippendale School Professional Course, project one specification. This required a cabinet that could house a clock which should be similar in size to a conventional longcase clock (here 347mm x 500mm x 1800mm) but would use a ‘floating balance’ mechanism (no long pendulum). In another departure from most traditional clock-cabinets, it was specified that the piece should be capable of being viewed from 360 degrees. The design process commenced by establishing the main shapes and volumes – the use of curves and circles was an obvious starting point, echoing the movement of hands around the clockface. Successful interaction between these circular/curved elements and more linear shapes was an important consideration. The dimensions, both in plan and in overall elevation, are derived using the golden ratio and this links the height of each box and the clock face diameter. The widest point is at the base, providing both visual and structural stability, immediately on top of this are four brightly coloured spherical ‘feet’, these act as a break to the visually heavy burr veneered base and lower box section, which appears to be balancing precariously on these four balls. This also provides a hint of the dynamism and contrast which will be a theme as one’s eye is drawn further up the piece by the gradually narrowing trapezoidal boxes. Each of these is veneered with alternating courses of burr oak and burr walnut, separated by a narrow strip of inlaid black stringing. The appearance mimics that of alternating stone courses and conveys a feeling of solidity. The use of burr veneers allied with a traditional shellac polish and a final wax finish, is intended to enhance the depth of colour and retain the tactility of this natural and almost “hyper-woody” wood. Preparation of the veneer layons was a difficult and time-consuming process, maintaining tolerances of 0.2mm to ensure that each of the horizontal courses would remain accurately aligned when formed into a box. Similar precision was then required in cutting-out each panel to create effective mitred joints, made more challenging by the trapezoidal box forms. The upper and lower box sections are separated by an asymmetric curve constructed from brick-built American hard white maple and faced with bright green Perspex acrylic. Here the interaction between curved and linier volumes is more dynamic, with the curve slicing through and disrupting the volume of the upper box but also creating a visual link to the overtly circular forms contained within its arc. The choice of maple for the brick-built sections was driven in part by the need for stability when combined with acrylic. Additionally, the very light colouration and largely straight but attractive grain pattern provides a further, this time natural foil, to the much darker and more complex patterns exhibited by the burr sections. Whilst brick-building is a fairly inefficient means of construction, the machined curved sections have a distinctive feel and appearance which would have been difficult to replicate by other means. Ultimately, like many of the materials and processes used to create the Time is Now, it is justified by the heirloom nature of the piece and the very limited production numbers envisaged. As we move further up the piece, we reach the strictly circular elements which comprise the clock face. The translucent nature of the acrylic, which is fixed to the light-coloured maple with exposed edges, allows light transmission through the material. This enhances the brightness of the coloured sections and in certain lighting conditions, gives the impression that the edges are almost glowing. The clock face itself is dominated by the bespoke, 3D printed hands which continue the circle versus straight-line thread. The rear face of the clock features an access hatch, held in place by magnets and removable by twisting and pulling the curved yellow handle. In doing so, not only does one grip a handle of the same colour, texture and material as the hands, but the twisting action also echoes their sweeping motion. Thus, a visual, textural and dynamic link is crated between the two faces.

Images have been resized for web display, which may cause some loss of image quality. Note: Original high-resolution images are used for judging.