In Reproduction I Hope
In Reproduction I Hope
In Reproduction I Hope
In Reproduction I Hope
In Reproduction I Hope
In Reproduction I Hope
In Reproduction I Hope
Nimrod 2.4
(Re)production is a form of libartion
Nimrod 2.4 uses 3D scanning, digital distortion, and iterative ceramic printing to recontextualize a local classic — the Nimrod sculpture. Emerging technology becomes a medium for re-reading place: each cycle of reproduction drifts further from the original, opening space for the histories embedded in the form.
The making of Nimrod 2.4
The idea was simple: take a scan of the original, 3D clay-print it, fire it in a kiln—and then repeat the process with the newly burnt sculpture. With each scan, download, upload, edit, print, and burn, resolution was lost. And with every cycle, the object moved closer to the uncanny space it was always meant to inhabit.
SCAN
BURN
REPEAT
SCAN PRINT BURN REPEAT
At the core of the work is an iterative process of 3D scanning, digital distortion, and repeated printing in clay and Nubian sandstone — materials deeply tied to the region's archaeological and cultural identity. Through this cycle of erosion and reproduction, the work blurs the line between preservation and transformation, asking whether repetition can move beyond erasure to become a method of reimagining collective memory. The artifact carries both the weight of history and the flexibility of what might have been — posing a quiet provocation: if histories can be reproduced, can they also be reimagined?
