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A Scan, a Printer and the Mediterranean - mixed media installation

An attempt to capture the movement of water — from cupped hands to a fountain to the Mediterranean Sea — through 3D scanning and printing. The sea, a hyperobject in Morton's sense, resists capture: each wave escapes representation. What remained was movement itself, crystallised in printed forms where structural imperfections became part of the aesthetic language.

An exploration of digital fabrication as both preservation and distortion of fleeting phenomena.

Made in collaboration with Guus Vandeweerd






digital double exposure // printed surface - mediterranean foam



What couldn’t be printed, aka the full scan

3D scanners are built for static objects, you move the device around what is needed to scan, enveloping it, building a model from multiple perspectives of something that holds still. Water doesn't hold still. So we reversed the logic: the scanner stayed fixed, the water moved. What the scanner did with that reversal was revealing, it applied the logic of a static object to a moving one, reading each incoming wave as a new layer of the same form. The result was not a model of water but a record of time: wave after wave stacked on top of each other, intricate layered structures that looked more like buildings under construction than anything found at a shoreline.

Then the printing logics intervened. Filament 3D printing cannot produce thin layers floating in air, it requires supports, temporary scaffolding that is usually removed once the object is complete. Here, removing the supports would have destroyed the pieces. They stayed. The supports became the object. What was printed was not the scan but what the scan could survive becoming, forms determined as much by the constraints of fabrication as by the movement of the sea.

These images show what existed before those constraints: the full scan, digitally intact, unprintable.




3D scan point


the physical act // outside
the digital act // inside