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Daniel ArshamEroded Porsche 911 Turbo (White)2020
2020
About the Item
Daniel Arsham
Eroded Porsche 911 Turbo, 2020
Hydrostone and quartz crystals
8.9 × 30.5 cm
Edition of 500
Daniel Arsham's Eroded series is a striking series of sculptural works that blend industrial design with a sense of archaeological decay. These pieces reimagine iconic car models—from luxury sports cars to everyday vehicles - rendered in plaster, quartz, and volcanic ash. The sculptures appear partially eroded, as though unearthed after centuries, suggesting themes of time, permanence, and cultural memory. Arsham’s meticulous attention to texture and detail gives the cars a fossil-like quality, transforming modern machinery into artefacts of a speculative future. Arsham challenges viewers to reflect on the passage of time and the transience of human innovation by juxtaposing familiar objects with a sense of ruin and degradation.
- Creator:Daniel Arsham (1980, American)
- Creation Year:2020
- Dimensions:Height: 3.51 in (8.9 cm)Width: 12.01 in (30.5 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:1stDibs: LU2154215636012
Daniel Arsham
Daniel Arsham lives and works in New York. Arsham has been exhibited worldwide, including at the Moco Museum, Amsterdam; the How Museum, Shanghai; High Museum of Art, Atlanta, GA and the Contemporary Art Center, Cincinnati, OH. His works are included in the permanent collections of the Pérez Art Museum, Miami, FL; the Walker Art Center in Minneapolis, MN and the Centre Pompidou, Paris. His artistic practice includes several high profile collaborations with choreographer Merce Cunningham, Producer Pharrell Williams and Designer Hedi Slimane and companies such as Dior and Rimowa. Arsham is the co-founder of Snarkitecture, a New York-based collaborative design practice established in 2007 to investigate the boundaries between disciplines of art, architecture and design. A component of Arsham’s iconic and immediately recognizable practice is the conception of his works as fossilized “future” relics that distort the viewer’s perception of space and time.
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