Carron continually questions the codes, signs and forms coming from his day-to-day environment, whether they are functional or purely decorative, and with Orologio V he moves within the borders separating the original and the replica. Drawing on public space, it is the motif of the clock here, in the way we encounter it in the street or at the train station, that is reconceived on a monumental scale and raised to the rank of a work of art independent of its initial context.

Its raw, aesthetically pared-down clock face, using façade roughcast, poses the notion of reconstruction which, in Carron’s work, involves remaking an object without recreating it in utter conformity to the original. We can distinguish the method, just like the purpose of the piece, from its model, whereas the artist’s practice directly integrates the popular culture to which it refers. Orologio V is equipped with a clock mechanism and thus tells the time, but the time of a society that is moving ahead while maintaining certain symbols from other places and ages.