{"id":3474,"date":"2022-10-08T12:00:00","date_gmt":"2022-10-08T17:00:00","guid":{"rendered":"https:\/\/setian.co\/studio\/?p=3474"},"modified":"2026-11-11T19:12:08","modified_gmt":"2026-11-12T00:12:08","slug":"asweetsea-3d-scanned-printed-sculptures","status":"publish","type":"post","link":"https:\/\/setian.co\/studio\/asweetsea-3d-scanned-printed-sculptures\/","title":{"rendered":"asweetsea
{ 3D Scanned and Printed Sculptures }"},"content":{"rendered":"\n

Technical Development<\/h2>\n\n\n\n

3D Scanning, Sculpting and Resin Printing<\/h3>\n\n\n\n

for Liza Sylvestre’s asweetsea<\/em><\/h3>\n\n\n\n

asweetsea<\/strong> is a solo exhibition by artist Liza Sylvestre<\/strong> at the John Hansard Gallery<\/strong><\/a> in Southampton, her first solo show in the UK. Its title expands on Sweet Sea<\/em>, a 1980s children’s cartoon from her childhood, which she reimagined in a new film made with her child. Through moving image, drawings, sculptures and audio works, the exhibition explores what it means to communicate and how access is created within a family.<\/p>\n\n\n\n

To accompany the film, Sylvestre created a series of clear resin sculptures, Memorabilia<\/em>, where memories of Sweet Sea<\/em> toys merge with components of contemporary cochlear implants. With a necklace among its objects, the series moves between sculpture and jewelry.<\/p>\n\n\n\n

I worked as the technical developer<\/strong> of the 3D pieces. I scanned objects from Liza’s collection, among them toys and hearing-impairment devices, and used those scans as raw material to create custom, monstrous 3D sculptures. The first versions were printed on a regular 3D printer; the final pieces were scaled up, divided into fragments and printed in translucent purple resin for the exhibition.<\/p>\n\n\n\n

The brief grew from four to five objects: a necklace, a flower, a watering can, a sea horse and a bubble cluster. After the first desktop prints, the models were re-solidified, lightened to under 300 MB per file and cut into flat sheets with gluing bases and pins, because the large printer worked best with flat components. Pieces that were too big, like the sea horse body, were split again after test prints, which were done glossy before the final pieces were printed matt.<\/p>\n\n\n\n