One might enjoy being in romantic relationships, but only theoretically: a lithromantic — from the Greek lithos meaning stone.
“The whole ubicomp environment, dust-sized chips, and utility fog and hazy clouds of diamond-bright optical processors in the soil and the air and her skin.” —Charles Stross in Accelerando
“You could very realistically imagine uploading into it,” he said, “and then you’d be this sort of formless data amoeba controlling this formless physical amoeba and take any size or form you wanted.” — J. Storrs Hall in conversation with G. Dvorsky; Why “utility fogs” could be the technology that changes the world
The main exhibition space acts as a plenum generated by fog and light which occupy the volume — a kind of sculptural casting. Storefront windows generally represent a place of potential or suspended desire; here, through Zucconi’s intervention, the front window suspends the relation of reciprocity within the viewers and the exhibition space.
In the backroom of the gallery, two prints and a mirror are installed.
The prints have been realized using custom software which interlaces images without changes in opacity. The process weaves the images together into a new whole: a ghostly apparition of a totality; seeing everything at once.
A portrait-oriented mirror — the dimensions of which are sufficient to encompass a human torso — has a hole punched out of it where one’s head might appear. This echoes a common horror trope: the decoupling of one’s mirror image with one’s body; a missing reflection.
As we continue to move the void remains still.