This project began by collecting 3D models of various culturally significant sculptures online and then 3D printing them. All 3D prints produce a seam down the object, where the filament slightly overlaps. Physical faults like these are known as ‘artefacts.’ After examining these seams, I traced them onto the original 3D models. I used the seam to UV un-wrap the model- cutting it open in order to create a 2D map. Thus, the ‘artefact’ created by the process of 3D printing was then fed back into the model to create the 2D image. While there are methods to hide the seam created when printing, the auto-generated placement of the seam as a physical trace of the printing process becomes something generative.
The three 3D models selected all have slightly ambiguous provenances, ranging from periods between the 4th century BC to the 2nd century AD. They are also all fragmentary, so have been physically distorted in some way over time. To me, this made them more susceptible to further transformations, having already displayed their fallibility.
The sculptures are miniaturised versions of exact scanned copies, printed in PLA plastic. Prior to this, as 3D scans they gain plastic qualities- becoming mouldable and open to different sorts of interactions and adaptations. As the database of 3D scanned cultural artefacts expands, our ways of knowing and interacting with such objects will continue to change