Time Is a Material

Elliot Marsh’s machines treat time as something you can bend, slow down or send across the city. He builds them in a workshop in Glasgow from clock parts, old bicycles and things he finds in skips, and every one of them is still running.

Clock for Nobody has two hands: one goes round in a second, the other takes sixty years. Neither of them tells the time. Field Recording, Nørrebro plays one street in Copenhagen through a giant blue horn, a second after it happens. When the street is quiet, so is the gallery.

Marsh calls these works time pieces in the plainest sense: they are made of time the way a sculpture is made of stone. Some only make sense if you come back on a different day.

The exhibition is loud in places. Ear defenders are free to borrow at the entrance, and there are benches in the quiet room at the end.