From March 27–29, The Creation of Time by Rodrigo Garcia will be presented at Basic.Space in Los Angeles, introducing a new body of work that reconsiders one of the most fundamental structures shaping contemporary life: time itself. Bringing together sculpture, astronomy, and philosophical inquiry, the exhibition marks the debut of Garcia’s evolving series of sundials—objects that move beyond their historical function to become meditations on how time is constructed, measured, and ultimately experienced.
At the center of the presentation is a group of freestanding and wall-based works crafted from aluminum, bronze, and wood. Ranging in scale and finish—from polished metallic surfaces to textured, hand-worked bases—the pieces draw from ancient timekeeping instruments first developed more than 3,500 years ago. Yet rather than offering precision, Garcia’s sundials resist utility, instead inviting a slower, more contemplative engagement. As noted in the exhibition materials, the series questions not only how time is measured, but why it has come to define so many aspects of daily life.
A Philosophical Approach to Measurement
Rodrigo Garcia Portrait. Courtesy of the subject.
Rodrigo Garcia, “The Creation of Time,” 2026. Displayed at Basic.Space Los Angeles.
Garcia’s approach reframes the sundial as both artifact and proposition. Historically tied to the movement of the sun and the rhythms of nature, the sundial becomes, in his hands, a symbolic object—one that reveals time as a human invention rather than a fixed universal constant. “Time does not exist. We created it,” Garcia notes, positioning the work within a broader reflection on systems—like money—that structure behavior and value.
This conceptual shift is evident in the works themselves. Some feature traditional radiating hour lines etched into metal plates, while others introduce subtle disruptions—irregular surfaces, voids, and imperfections that interrupt the illusion of exactitude. These gestures underscore the idea that time, as it is commonly understood, is neither neutral nor stable, but shaped by cultural, economic, and historical forces.
Estudios: An Ongoing Series
Rodrigo Garcia, Process Picture of “The Creation of Time,” 2026. Displayed at Basic.Space Los Angeles.
Rodrigo Garcia, Process Picture of “The Creation of Time,” 2026. Displayed at Basic.Space Los Angeles.
Rodrigo Garcia refers to the works as Estudios, or studies, emphasizing their role as the beginning of a longer investigation. Rather than presenting a finished series, The Creation of Time introduces a framework—one that will continue to evolve across materials, formats, and contexts. Each piece operates as both a standalone object and part of a broader inquiry into how time can be visualized and understood.
The process behind the works is integral to their meaning. Combining astronomy, mathematics, casting techniques, and woodworking, Garcia describes the act of making sundials as a form of alchemy—transforming raw materials and scientific principles into objects that carry philosophical weight. This interplay between technical precision and conceptual openness allows the works to exist simultaneously as design objects and speculative tools.
Expanding a Practice Rooted in Material and Meaning
Rodrigo Garcia, Process Picture of “The Creation of Time,” 2026. Displayed at Basic.Space Los Angeles.
Best known as the founder of AMEN, Garcia has built a multidisciplinary practice that spans design, environmental activism, and installation. Born in Uruguay and working between South America and Europe, he has gained recognition for projects that challenge conventional approaches to materials—particularly through his focus on sustainability and alternatives to plastic production.
His work has been presented across institutions including the Musée Picasso Paris, The Met, LACMA, and M+ Museum, often blurring the boundaries between functional design and conceptual art. In previous projects, Garcia has addressed ecological concerns and material responsibility; here, he turns toward a more existential dimension. If earlier works asked how we live in relation to the environment, The Creation of Time asks how we live within the constraints of time itself.
A Counterpoint to Acceleration
Rodrigo Garcia, Process Picture of “The Creation of Time,” 2026. Displayed at Basic.Space Los Angeles.
Rodrigo Garcia, “The Creation of Time,” 2026. Displayed at Basic.Space Los Angeles.
In a cultural moment defined by speed, efficiency, and constant digital tracking, Garcia’s sundials offer a quiet counterpoint. Rooted in light, shadow, and physical presence, they reconnect the experience of time to the natural world—away from screens and standardized systems. Their scale and materiality encourage viewers to pause, to observe, and to consider duration not as something to be managed, but as something to be felt.
Ultimately, The Creation of Time suggests that to study time is to study life. By returning to one of the earliest tools of measurement and reimagining it for the present, Garcia opens a space for reflection—on value, attention, and the ways in which time shapes human experience.
Exhibition Details
Rodrigo Garcia, “The Creation of Time,” 2026. Displayed at Basic.Space Los Angeles.
The Creation of Time
Rodrigo Garcia
Basic.Space, Los Angeles
March 27–29, 2026
