Spin Off: Work that Stood Out to me
Spin Off
Brianna’s piece was such a standout, bringing their original character into the real world in a way that felt both unexpected and totally seamless. Using a low-poly aesthetic, they took something digital and made it physical, a paper-based sculpture that was both playful and seriously impressive. The way the folded geometry came together with those vibrant colors and expressive details gave it so much personality. Seeing it in person made it even more striking, every fold and edge felt super intentional, blending the digital and handmade in a way that just worked.
I remember Brianna talking about their process—starting with a modeling software, then bringing it into Rhino to explode the model and prep it for fabrication. That jump from 3D modeling to a real, foldable form was so cool, especially because the final piece kept all the charm of the original design. The little details, like the printed textures and the way each shape locked together, made it feel like the character had stepped straight out of a game or animation and into real life. It was so exciting to see that mix of digital and physical craftsmanship come together so seamlessly.
Jose’s massive pink crocodile (or alligator—still not totally sure) totally took over the space. You couldn’t miss it. Its oversized, plush body sprawled across the floor, that bright pink fabric popping against the gallery’s neutral tones. And those bold green eyes—with their slit-like pupils—gave it this mix of cartoonish charm and just a hint of mischief, like it was inviting you in but also maybe up to something.
Seeing it in the actual installation was a whole different experience from just picturing it. It wasn’t just sitting there, it felt like part of the space, like it belonged. But also the seeing it in the installation in front of the TV and it singing about how there is this tar in his home was a fun experience.
I’m not totally sure about Jose’s exact process for shaping it, but the craftsmanship is super clear. The fabric is stitched together so cleanly, and the way it holds its shape despite being soft is really impressive. There’s this perfect balance between structure and flexibility, making it feel solid but still inviting, like something you’d totally want to flop onto or just hang out with.
What I love about Daniela’s work is how it bridges the past and present in such a cool way. Using a ceramic printer to recreate Tacarigua figurines isn’t just about preserving history, it’s about reimagining it with modern tools. Watching the process in action was amazing. Seeing these ancient forms take shape, layer by layer, really made me appreciate the level of detail and care that went into them.
But what really stuck with me? These weren’t just sculptures, they were noisemakers! That totally changed the way I saw them. It made me wonder how they were originally used. Were they part of rituals? Storytelling? Some kind of ancient communication? Whatever the case, the textures and details that came through in the printing process gave them this incredible mix of feeling both ancient and futuristic at the same time.
Getting to see everything come together, from printing to the final pieces, was such a rewarding experience. The end results looked amazing, and knowing they were made using such an innovative method made them even more exciting to see in person.
Marina’s piece immediately grabbed my attention, especially that ship in the top right. She mentioned being inspired by Howl’s Moving Castle, and it totally shows. The ship has that same whimsical, mechanical feel, like it’s floating somewhere between fantasy and reality. The whole composition feels straight out of a storybook, packed with intricate details that make you want to keep looking and discovering new things.
I thought their studies on Japanese techniques on paper cutting, and then transitioning that into something more modern by laser cutting the piece was really cool.
What I love most is how it balances ornate decorative elements with storytelling. The swirling patterns and delicate flourishes make it feel so elegant, but then you have the castle, the ship, and all these little hidden details that add so much narrative depth. It’s one of those pieces where the longer you look, the more you notice.
The contrast here also makes everything pop, almost like a shadowbox or a delicate paper cutout. It has that old-world, fairy-tale aesthetic but with a bit of a darker, mysterious edge. Seeing it framed in person really brings out the depth and craftsmanship, it’s one of those works that just pulls you in.
Isabelle’s work, I remember her saying her main goal was just to learn Blender, but honestly, based on this model alone, she’s already got a solid handle on it. The piece looks so smooth and polished, and the details, especially in the flowing shapes and delicate elements, really show an understanding of form and composition. Seeing it displayed like this, you’d never guess she’s just starting out.
She also mentioned wanting to rig it, which is a whole other challenge. But with how well this turned out, I have no doubt she’ll get there. It’s exciting to imagine this piece in motion, there’s already so much movement in the design itself, and I can’t help but wonder what kind of animation or storytelling could come from it down the line.
Anyway, this exhibition really showed how artists are pushing the boundaries between digital and physical art, whether through 3D printing, modeling, fabrication, or interactive elements. Seeing the works in person made me appreciate just how much detail and thought went into each piece, from the precision of a folded sculpture to the softness of fabric-based art. Every artist brought something unique to the show, making it such a diverse and exciting collection. The mix of storytelling, experimentation, and technical skill felt fresh and super engaging.
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