In Reproduction I Hope
In Reproduction I Hope
In Reproduction I Hope
In Reproduction I Hope
In Reproduction I Hope
(Re)production is a form of libartion
The series 'In Reproduction I Hope’ engages with historical reiteration-not as mere replication, but as an excavation of futures that nearly solidified and might yet be imagined. Through the digital distortion and material erosion of Nimrod, the biblical hunter figure, these sculptures evoke an archaeology of lost possibilities, gesturing toward an alternative past where the shared cultural space of the Levant-before the rupture of 1948-was not an impossibility, but a dream still forming.
SCAN
BURN
REPEAT
SCAN PRINT BURN REPEAT
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.
At the core of the sculptures 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. It asks whether repetition can move beyond erasure or commodification to become a method of reimagining collective memory. The artifact shifts between remembrance and reinvention, carrying both the weight of history and the flexibility of what might have been. By revealing the fractures of the present, the work poses a quiet provocation: if histories can be reproduced, can they also be reimagined?
