If we had a panoramic view of Reyes´ work, we would have no problem observing how the concept of time flows through much of his artistic production. Pieces such as Doorbell, Carro Fenix or trumpet testify this. However, in Time we see a more conceptual, discordant, explicit or perhaps a more resounding version.
For Joseph Kosuth, one of the mainstays of conceptual art, the pieces would become the physical residues of the artist’s activity*. The contemptuous air here has the term residue which reveals that change of paradigm where, as Lucy Lippard would say, the idea holds the utmost importance but the material form is secondary, small, ephemeral, cheap, unpretentious and/or dematerialized**.
In Time, that residue resulting from the creative process is a clock. Through the accentuated symbolism and decontextualization of such an everyday object, Reyes forces us to react, but above all to look differently than usual***. In this sense, Time connects with those conceptual artists, a case of On Kawara or Roman Opalka, whose work, beyond the concept of time, had the drama of our own existence as its backbone****.
* See: Bozal, V. Modern and postmodern. Madrid, Historia 16, 2000. p. 50
** Lippard, L. Six years: The dematerialization of the artistic object from 1966 to 1972. Madrid, Akal, 2004. Pág. 8.
*** See: Bozal, V. Op cit. P. 52
**** See: VVAA. Art of the XX century. II volumes. Cologne, Taschen, 2005. Págs. 358 and 359.
23 x 71 x 10 cm