Rich gem-like colour and slick screen-like surfaces counterpose the scratched, scuffed and abraded marks inscribed into the found negatives with which ‘Time travels through the body: Double victory’ was made. Created in the mid twentieth century, the 10 x 8 inch, black-and-white nitrocellulose negatives are photographic artefacts. They are also damaged artefacts of modernity that cradle images of damaged artefacts of antiquity, in this case a fractured goddess, Nike, who represents victory. Productive tensions unfold between the interwoven layers of artefactuality, the marks of their shared histories of neglect, and the material traces of the exquisite care that still reaches us from their original creation. In making this body of work I have drawn upon what I have come to understand as a restless, generative, oscillating rhythm between care and neglect, which here functions as a kind of conceptual mirror, reflecting our personal and collective contemporary histories.