
James Goldcrown
Los Angeles artist renowned for transforming city walls into vibrant symbols of love and optimism.
Sébastien Preschoux is a Paris-based visual artist who has spent two decades exploring the balance between precision and imperfection. Entirely self-taught, he left a conventional career to pursue optical and kinetic art, transforming lines, colour, and geometry into intricate illusions.
Working by hand rather than digital tools, Sébastien creates both ink drawings and large-scale outdoor installations, each rooted in time, effort, and emotion. His practice invites viewers to reflect on the fleeting nature of time, with every piece capturing a moment of meaning through meticulous craftsmanship.
Sébastien Preschoux is a Paris-based visual artist who has spent two decades exploring the balance between precision and imperfection. Entirely self-taught, he left a conventional career to pursue optical and kinetic art, transforming lines, colour, and geometry into intricate illusions.
Working by hand rather than digital tools, Sébastien creates both ink drawings and large-scale outdoor installations, each rooted in time, effort, and emotion. His practice invites viewers to reflect on the fleeting nature of time, with every piece capturing a moment of meaning through meticulous craftsmanship.
For his collaboration with VIEREN, Sébastien Preschoux approached reinventing the Matte White timepiece as a miniature extension of his larger works. Using mechanical drawing tools and engineering pens with tips as fine as 0.1mm, he carefully hand-rendered geometric poetry onto the 2cm x 3cm dial.
The result is a hypnotic composition of symmetry, rhythm, and control—striking a delicate balance between precision and imperfection. Encased within VIEREN’s ultra-thin rectangular form, the dial became a window into the detail of his paintings. Each stroke is purposeful, shaping a moment captured in motion.
For his collaboration with VIEREN, Sébastien Preschoux approached reinventing the Matte White timepiece as a miniature extension of his larger works. Using mechanical drawing tools and engineering pens with tips as fine as 0.1mm, he carefully hand-rendered geometric poetry onto the 2cm x 3cm dial.
The result is a hypnotic composition of symmetry, rhythm, and control—striking a delicate balance between precision and imperfection. Encased within VIEREN’s ultra-thin rectangular form, the dial became a window into the detail of his paintings. Each stroke is purposeful, shaping a moment captured in motion.
Sébastien’s first memory of a watch is of his father winding it each morning. He loved the sound of the mechanism, imagining the tiny gears working inside. Later, it was the ticking of the watch near his ear when he was held in his father’s arms, a sound like a second heartbeat.
He channeled this memory into his design, embodying the patience, process, and beauty found in restraint. Inside the watch is a snapshot of Sébastien’s creative world—a distillation of hours, movement, and meaning. But more than that, it’s a reminder that time belongs to all of us and its value lies in how we connect to it.
Sébastien’s first memory of a watch is of his father winding it each morning. He loved the sound of the mechanism, imagining the tiny gears working inside. Later, it was the ticking of the watch near his ear when he was held in his father’s arms, a sound like a second heartbeat.
He channeled this memory into his design, embodying the patience, process, and beauty found in restraint. Inside the watch is a snapshot of Sébastien’s creative world—a distillation of hours, movement, and meaning. But more than that, it’s a reminder that time belongs to all of us and its value lies in how we connect to it.
For Sébastien, time is the ultimate currency—irretrievable, equal for all, and central to the value of art. His choice to work entirely by hand is a stand against speed and disposability. Accustomed to expansive formats, he faced the inverse challenge here: compressing scale without losing intent.
Working on a dial no larger than a postage stamp, every gesture had to be exact—no room for hesitation, no tolerance for error. Using tools meant for architectural drafts and maps, he drew a perfectly centred, symmetrical composition. What emerged is more than design: a union of human imperfection with the precision and delicacy of the object itself.
For Sébastien, time is the ultimate currency—irretrievable, equal for all, and central to the value of art. His choice to work entirely by hand is a stand against speed and disposability. Accustomed to expansive formats, he faced the inverse challenge here: compressing scale without losing intent.
Working on a dial no larger than a postage stamp, every gesture had to be exact—no room for hesitation, no tolerance for error. Using tools meant for architectural drafts and maps, he drew a perfectly centred, symmetrical composition. What emerged is more than design: a union of human imperfection with the precision and delicacy of the object itself.