Timegardens are contemplative artworks in the tradition of the ʻsublimeʼ landscape gardens first designed in the 18th-century, meant to be the subject of meditation on the transitory nature of human life as compared to slower natural cycles.
Timegarden 02 is a recent update, created for the 2006 Margaret Mead Film Festival at the Museum of Natural History in New York. In this particular one-hour Timegarden, the camera revolves 360o, like a clock, positioned in the woods outside a circular walled garden. Four time spans are represented simultaneously: flowerbeds cycle from spring to fall; trees cycle from winter to winter, and the dome of the sky moves from dawn to dusk. The cycles are seamlessly looped, repeating hourly.
Framed screen: 15 x 23.5 x 3.5" / 38 x 60 x 9 cm
Shelf: 3.5 x 16.8 x 9.6" / 9 x 42.5 x 24.4 cm.
About Claudia Hart
Claudia Hart’s works juxtapose the futuristic and the classical, combining 3-D animation software with such canonical images as the nude female form and still lifes of apples. Hart presents themes of death and the inevitable ravages of time, offset by a vision of an alternate technological universe in which plastic bodies elude decay. Though patently artificial, the figures in Hart’s film installations emote in a recognizably human way as they are put through often agonizing processes involving containment and atrophy. For the series “PhotoMortifications” (2007-2009), Hart superimposed 3-D images of decomposing statues on to photographs of large modern public interiors. In a similar interplay between artifice and authenticity, “The Real and the Fake” (2011) features photographed edibles of questionable nutritional value with computer-generated images of flawless apples, inspired by the decline in the quality of food.
American, b. 1955, New York, New York, based in Chicago & New York