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Chapter 4

Time Hangs

Lucie Lanzini,
Veerle Melis & Jot Fau


19 February 2021
Time is a notion our minds have few grips on – the clock is ticking, though we feel it as a relative essence. As French physicist Etienne Klein phrases it: “Time escapes and flees from us. It is without matter and yet we live in it, we are carried away by it, like everything that exists.”

Time is also influenced by our emotional perception.“Time Hangs Heavy”(on one’s hands) is a metaphoric idiom, from the 18th century, that likens the passage of time to a burdensome weight.

The practices of the three artists presented for the Chapter 4 at 10N tackle the notion of time and its perception in various ways. Metaphorically engaging with the matter of temporality, each work stems from a strong link to craftsmanship. May they be suspended, tied up, or set in equilibrium, the artworks cohabit in an intimate landscape that invites a reflection on the slow pace of time and its physical embodiment in heaviness.They operate on different conceptual realms ultimately relating to the world we inhabit.

Text co-written by Claire Contamine and Jêrome Nicod.




Jot Fau

Jot Fau ́s work questions the social construct behind the development of our identity and gender. Autobiographical memories and encounters are poetically overcome through fictional narrations. For 10N, she proposes a constellation of artefacts that materialize deep truths about human relationships and emotions they develop during our lifetime.

She has imagined alter egos such as « the hunter », « the trapeze artist », « the singer », representing plausible identities, therefore using essentially used materials chosen for their aesthetic and historical characteristics. Placing her being exactly on the border of fiction and reality, and hereby intentionally erasing that border. Through dream-like aesthetics, her practice evokes deep desires, fears and the changing nature of one’s subconscious. The small varnished images are part of a project called « the hunter ». The framed photographic work is to be seen as a first step of her new post-porn art project.

Lucie Lanzini

Lucie Lanzini ́s work integrates itself within the fabric of space and time. She pays particular attention to everyday forms for their capacity to evoke and summon memories. Specially produced for 10N’s patio, her pieces operate formal incongruities responding to site specific conditions. Decorative motives are twisted and reformulated to engage a discussion with the place they fit into, creating an uncanny collection of physical moments.

The symbolic of the rope, the arrow or the rock through positive or negative prints inside monolithic stelae ask the viewer to reconstruct what he sees. The use of plain tinted jesmonite as core material confers an archaeological dimension to the artworks. “Ornament is” not “a crime” here and surprisingly enters into a dialogue with shapes directly inherited from minimal art.


Veerle Melis

Veerle Melis’s practice communicates with a long cultural history of textile and rug making, although her intuitive and creative process denies any pre-existing conceptions of her different pieces. Using salvaged textile material, the ensemble of works knitted for this show feature figurative elements while having been formally influenced by mistakes, coincidences or insights that came along the way. For Harmony 2020/2021, the extremely slow crafting process of doing and undoing adopted by the artist took over the broad reflection on the notion of harmony initially intended, conveying an additional therapeutic dimension to the artwork.

The motif of interweaving hands can be seen as a mise en abyme of the role of the artist process and its link to artisanal knowledge. It echoes the ornamental patterns of Lucie Lanzini’s works that appear as meta-reflections on the artist’s position at the edge of decorative and fine arts.