"Born in 1960 in Montevideo, Uruguay, I remember as my first artistic influence, an exhibit of the work of Alexander Calder. Just after the show I was inspired to paint my sunny-side-ups, and convert them into clocks. I have remained deeply influenced by Calder's universe, and today my use of nails as rivets evokes the jewelry that he created.
By the age of ten I had already begun painting the glass of my watch with markers, which in turn painted the sleeves of my shirt with beautiful colors my mother did not like. Today, my watches still have painted dials, but now on the inside.
My grandfather, wanting to mark my passage into adulthood, asked me to choose a special watch for myself. I remember walking up and down the length of the Avenida de 18 de Julio, looking for the perfect watch in each store. I will never forget the feeling as I searched for the timepiece, which was most uniquely me. That experience has guided decisions I have made about the watches in my Watchcraft line. The decision not to seal the distressed and oxidized metals, with a protective finish, allows the wearer of the watch to become a participant in the evolution of the piece. The air, the temperature, and the skin of the wearer all change the inherent molecular structure of the metals, and the end result is a watch that is most uniquely their own.
At fourteen, I made my first seconds-meter machine, an old enamel-faced clock with only one hand showing the seconds go by. Below, a sign read: "Ars Longa, Vita Brevis." (Arts lasts, life is brief). This would become a common theme in my subsequent work.
From 1985 to 1990 I studied at The School of Liberal Arts, in Montevideo, where I developed my style in photography, video art, and sculpture. It was there that I conceived my signature piece, the "Slow Reading Clock". Its three movements mark one segment of the time: hours, minutes, and seconds respectively. Much of my work since that time has focused on movement, presenting multiple pendulums, or second-hands. While these pieces are about motion, they are also about time. Depending on the mood, the observer could feel caught up in the flow of passing time, and be beckoned to "seize the moment". Or alternately, one could be subdued, feeling the anguish of the eternal.
Today a line of more than 100 different watches is being produced in my New York City studio under the trade names WatchCraft, and Milieris. Over 400 galleries, museums, and stores around the world represent these lines.
Between my family and my work in timepieces, I still manage to find some time to experiment with photography, and if I can, get my shirtsleeves dirty with something new." - Eduardo Milieris