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Federico Federici, Wilson chamber, (graphite, rubber, pencil, pigment liner, sandpaper, Olivetti Studio 46, heat gun on 210×295 mm semi-rough sheet), 2024
1. The point is not the particle in itself, but its trajectory – a manifestation of the same kind as the particle, yet distinct from it. Here, the particle; there, the path. A particle, a trace, a trail forms – a track in vapour and fog. An archive of paths, collisions and decays marked by atoms breaking open along the pathway. Electrons echoing, positrons echoing, inseparable from their paths. Ion trails make sense of the invisible – to dare trace the tilt if the motion of charges. This represents a logical extension of the materiality of physics.
2. The point is not the sign in itself, but the trajectory – a manifestation, the sign, distinct. Here, the sign; there, the signifier. An archive of paths and collisions emerging and merging on a larger scale – signs breaking open along the signifier trails. Signs and signifiers obviate the status of error that is inseparable from meanings. Such unstable texts rest on a new construction principle beyond the category of error. The trails make sense of the invisible – tracing the tilt of motion of signification. A logical extension of the materiality of writing.
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Study for Nymphs Finding the Head of Orpheus, John William Waterhouse
‘Waterhouse’s imaginative power is emphasized by the floating head with its hair entwined in the floating lyre; in reality, this grouping would keep the two objects together, but here it also alleviates the stark horror of the disembodied head. Notice, too, the final accent of the flower placed centrally among the hair.’ (Anthony Hobson, J. W. Waterhouse, 1980, p. 117)
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