This project explores sculpture as a hybrid process that begins with hands-on making and culminates in the creation of a digital file that can be reproduced, transformed, and archived. The work does not end with the physical object; instead, it acquires a second existence as a three-dimensional model that expands its possibilities of circulation, scale, and permanence.

The research originates from a sculptural practice focused on small-scale works, initially developed through modeling with plasticine. In this first stage, the sculptures were built through the accumulation of mass, approaching volume as an additive process. Over time, the practice evolved toward a lighter and more open construction method based on welded steel armatures that function as drawings in space. Layers of plaster, papier-mâché, and adhesive tape are then applied over these structures, creating lightweight surfaces and organic forms while preserving the traces of the artist's hand.

Each sculpture is subsequently captured through a photogrammetry process, using multiple photographs to digitally reconstruct its geometry. The result is a high-fidelity three-dimensional model that retains the marks and textures of the physical making process while transforming the sculpture into a digital archive.

This digital file represents a new stage in the life of the artwork. It can be 3D printed, reproduced at different scales, digitally modified, or permanently archived. The sculpture is no longer tied to a single material object but exists simultaneously as both a physical artifact and a digital entity.

In this way, the project reverses the conventional logic of digital fabrication. Rather than designing an object on the computer before manufacturing it, the creative process begins with direct contact between the body and the material. The computer enters only afterward, as a tool for capturing, translating, and expanding the work. Digital technology does not replace the sculptural process; instead, it extends its possibilities.

Beyond three-dimensional reproduction, the digital model can generate an almost infinite number of two-dimensional images from any viewpoint. The sculpture becomes a source of countless visual representations—virtual photographs, animations, renderings, and new forms of documentation—that expand the work beyond its physical presence.

Ultimately, this project reflects on contemporary sculpture as a field in which handcrafted making and digital fabrication coexist. The three-dimensional file is not the end of the process but the beginning of new possibilities for production, transformation, preservation, and circulation, challenging traditional notions of originality, reproduction, and permanence in sculptural practice.