Executed with a compound tool made from PVC tubing and loaded with previously broken remnants of red and blue soft pastel, Nameless Number Nineteen records a change in the apparatus during passage. Several pastel fragments were lost while the movement was underway. The tool’s contact geometry changed, but the trajectile continued without pause, reconstruction, or correction.
The recording tool used for Nameless Number Nineteen was a provisional compound instrument made from PVC tubing. It was loaded with remnants of red and blue soft pastel that had already broken before this work began. The fragments were arranged to place several points of contact against the Canson XL sheet, allowing one bodily movement to register as a divided chromatic band.
During execution, several pastel pieces detached from the holder and were lost.
They were not retrieved or replaced, and the instrument was not restored to its initial configuration. The movement continued with the components that remained. The sheet therefore preserves the consequences of two states of the same apparatus: broader compound deposits produced by the initial configuration and more exposed red and blue trajectories produced after its partial depletion.
This was not a decision to incorporate an accident after evaluating it.
There was no interval in which the emerging artifact was compared with an intended image. The material event occurred inside an already released trajectile, and continuation preceded interpretation.
Nameless Number Nineteen consequently distinguishes material failure from trajectile interruption.
The recording apparatus changed and lost components, but the bodily passage remained continuous. The work made explicit the principle later named Trajectile Persistence: the trajectile continues through changing material conditions without surrendering the continuity of its passage.
