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RA Walden
emailrawalden(@)gmail.com


  1. 23 astronauts at varying distances from a black hole
  2. the universe is a clock
  3. Crip Ecologies (2024)
  4. earth again being a body
  5. time, building itself, adagio
  6. access points // or // alternative states of matter(ing)
  7. feladŷifâ / feladŷi
  8. Crip Ecologies (2022)
  9. science fiction is not pretend
  10. ẍây ithřa: a pledge
  11. a slow and burning hope
  12. Structures of Care
  13. -o-:06:19
  14. Notes From The Underlands
  15. My Body Is The House That I Live In
  16. Remedial Geologies IV
  17. My Body Was A River
  18. Primer
  19. Border Crossings // I Am Here
  20. Potential Future Performances
  21. Remedial Geologies III 
  22. Crip Ecologies (2018)
  23. Utopias (IRL//URL)


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IMPRESSUM
Mark
the universe is a clock (2024)








Image Credit: Jules Lister
Photographed at Grundy Gallery, UK, for ‘object transformations through the coordinate of time’, 2024, RA Walden 

the universe is a clock (i) schrödinger’s equation, time independent, 2024

the universe is a clock (iii) carnot’s equation, second law of thermodynamics; entropy and work, 2024
In this series of works, the numerals of a clock are replaced with different elements from scientific equations. Made from clear glass and noble gases, these works bring the physical world and the world of physics together to invite the viewer to consider their own understandings of time. As we occupy bodies in their varying states of health, on a planet careening toward sickness and at a time when the future is so unknown; this work also opens up questions of clock time, ‘sick time’, and normative time-keeping.



Image above pictured with work on the left by Shezad Dawood

the universe is a clock (i) schrödinger’s equation, time dependent, 2024

These works were co-commissioned as part of Hybrid Futures. Hybrid Futures is a collaboration between Castlefield Gallery, Manchester; Grundy Art Gallery, Blackpool; Touchstones, Rochdale, University of Salford Art collection, and Shezad Dawood Studio. Hybrid Futures is supported using public funding by the National Lottery through Arts Council England, and with support from Art Fund and Henry Moore Foundation.

Text by Paulette Brien

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