Erwan Boulloud returns to Twenty First with Touching time, his first solo exhibit in the United States since 2019. It brings together 15 new and recent creations, which further refine, explore and develop concepts and motifs that have become an intrinsic part of his body of work.

The French designer’s inspirations are vast and various. They range from the infinitely small to the infinitely large, from obscure botanical species to medieval jewelry. He avows a particular passion for the passage of time, whether it be ephemeral or eternal, as well as traces of the past. At the heart of his work is a deep-rooted interest in science. Boulloud often looks to astronomical phenomena, such as the origins of creation, the expansion of the universe and the solar system. Moments at the very beginning of time, places where time travels at different speeds.

Like a modern-day alchemist, he transforms each concept into exquisitely crafted objects that are audacious, ingenious and precious. They spark curiosity and wonder and inevitably have rich and captivating stories to tell. “For me, the success of a piece is not just measured by its aesthetic qualities,” states Boulloud, “it must above all be justified by an intellectual approach, the expression of an idea.”

“I appreciate how Erwan’s patterns always have a purpose,” notes Twenty First’s founder and director, Renaud Vuaillat. “There’s nothing random to them. They can be inspired by fascinating stories and mythology, or take the form of ‘mathematical lines’ grounded in a physical phenomenon he has observed. That makes them both intriguing and meaningful.”

For Touching time, Boulloud not only probes further into his signature topics, but dazzles once again with mastery of materials. He has long had a predilection for metals, such as patinated bronze, stainless steel and brass marquetry. A number of the new designs also feature concrete or burnt wood, and for the very first time, he presents creations — a trio of lamps — made from alabaster. “As a stone, it carries its entire history within it,” notes Boulloud. “It’s the result of a very long process.” A reference to time, once again.