The Italian word ‘soglia’ (threshold, entrance) has numerous different meanings which can be applied to the symbolic field as well as to building, geography, geology, physics and psychology. From the technical-scientific perspective, the threshold refers to the value that an agent or size must reach in order to produce a specific phenomenon. In a figurative sense, it also indicates the principle of something, the transition from one state or place to another - challenging physical limits, persevering, putting memory to the test and corroding matter are all forms of exertion which involve resisting a force; the extension is crucial.

The resistant bodies gradually become more ancestral. Although the personal and emotional sphere is initially explored with greater insistence, the social body with its relational aspects is subsequently investigated until it dissolves into matter. In a reverse process strewn with references to alchemy, the search for this primordial force involves a journey towards an archaic cosmogony. For example, in The Origins of European Thought, Onians chooses words to reach the roots of being in the conviction that each word used by our ancestors to describe reality encapsulates entire cosmological universes. During the same period, but elsewhere, the French ethnologist Marcel Griaule conferred autonomous philosophical and cultural dignity on the peoples of central-western Africa in his study of the origins of the symbolism of the Dogon in which an emotional area of language is assigned to each specific part of the body.

Anger focuses on the passages where the origins of a word can be traced back to various internal organs. In particular, the Dogon consider the central organ to be the liver through which all the emotions spread, as had already been guessed by Hippocrates in the fledgling phase of western medicine. Anger, represented by bile, becomes the heart of the investigation in this specific historical phase during the moment of the explosion and in the subsequent phase of dissolution. The treatment of the plates with bile and ink, in other words through anger and the word, gives rise to unexpected reactions during the phase of immersion in acid. The engraving plate is covered with the mixture of the two liquids so that the plate is impressed in the cracks exposed to the effects of the acid. Reflective surfaces emerge from this procedure. They represent sculptures obtained by subtraction in which the spectator observes his or her image through the interference of the interaction between bile and ink. 

In Anger the positive and negative of engraving is overturned: the stencil creates a work which is already complete in itself while the prints/maps obtained by the chalcographic process take on a documentary value. Corrosion displayed on paper reveals unexpected landscapes of other possible worlds where creation can resume its cycle. The fragments of meteorites within the disc that introduces the entire exhibition in the form of an oracle also provide proof of this.