Studio Job - Big Ben

Studio Job was founded in 1998 by Job Smeets in the renaissance spirit, combining traditional and modern techniques to produce once-in-a-lifetime objects. At once highly specific and yet entirely universal, personally expressive and yet experimental, Studio Job has crafted a body of work that draws upon classical, popular and contemporary design and highly visual and sculptural art.

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1998
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Time
2018
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1998
Pieces
Unique
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Unlimited

Material

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Studio Job

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Big Ben

Big Ben, cast in bronze, is a monumental interpretation of the world famous building the Elisabeth Tower in London. But this icon is positioned anew, and finds itself in a vulnerable yet stable position. The eternally exploding double decker bus refers to the 7/7 attack of 2005.

  • Year
  • 2009
  • Material
  • polished and patined bronze, aluminium, brass, 24K gilding, silver leaf, hand paintings, mouth blown glass, Westminister clock works, LED, Guatemala marble
  • Edition
  • 3 + 2AP + PROTO
  • Collection
  • Carpenters Workshop Gallery, London – Paris – New York

BIG BEN

Aftermath / Landmark 2009 - 2014

As part of the groundbreaking collection the Landmark series the Big Ben is amongst some of Studio Job’s most famous pieces, the Chartres and the Taj Mahal.

 

“Big Ben is created with eroded rock, like an apple core, precarious and able to fall at any moment. But still the icon survives on top, holding strong despite the turbulent undercurrent.

 

It is not a rule of law, but I do believe that buildings tell a lot about their inhabitants.

 

Humans as creating beings….

 

Landmark, the exhibition by Studio Job in lunched in Miami is not a closed-end collection, but an installation of monumental sculptures from the period 2009-2014.

 

Architecture is what connects the exhibition. Cast in bronze, monumental interpretations of world famous buildings. But these icons are positioned anew, and find themselves in a vulnerable position, blown up or reduced to a simple lamp.

 

What also connects the sculptures is the ultimate effort for the ultimate work. They are Renaissance pieces for the contemporary applied arts.”

 

– Job Smeets, Antwerp November 2014

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