Photography credit to Renay Egami.
Inspired by Christian Marclay’s The Clock and Felix Gonzalez Torres’s Untitled (Perfect Lovers), these two clocks, their faces covered in broken mirror pieces, utilize simplicity of form and semiotics to call upon the tradition of momento mori. The clocks, placed in both the men’s and women’s washrooms, request that viewers notice themselves in time, in reality, and the inevitability of mortality. The washroom is a humbling location; it is a necessity, but it is also a reality that many don’t identify with, much like death. The clocks were created by breaking up mirrors and assembling them in a random order to fit and be adhered to the face of each clock so that they reflect their surroundings as well as viewers. The dull ticking of each clock is significant in urging lone bathroom goers into the present moment over projections of a variable future. These clocks remind us that each moment of consciousness is both significant and limited.