Pretty in Pink is a series of image-based, life-size 3D printed sculptures that examine the digital objectification of the female body and its embedded codes of desire and violence. The work builds on a background in architecture and 3D visualization, combined with ongoing research in photography and image theory at ECAL.
The process begins with 2D thumbnails of 3D models, idealized nude female bodies created for the digital porn industry. These images are used as raw material and manipulated in Photoshop through painted light and shadow, the stretching and deformation of intimate zones, and the introduction of visual aggression. The resulting depth maps are translated into 3D forms and printed on desktop machines, entirely self-produced, layer by layer.
This workflow, combining image editing, algorithmic modeling and sculpture, pushes the boundaries of what an image can become. Digital tools are employed not to perfect form but to question it. The sculptures, glossy pink and ambiguous, stand as a material resistance to objectification.
In a moment when systems of power and representation feel stuck in repetition, Pretty in Pink uses the language of digital desire to interrupt these loops and expose their violence. It confronts how women’s bodies are endlessly commodified in digital culture while experimenting with how digital practices can be reimagined to foster resilience, confrontation, and alternative dynamics.