Rematerialize grew from a desire to close the loop between the digital and the physical, to see what happens when each process feeds back into the other without hierarchy.The workflow began with digital renders, some already incorporating scanned 3D clay figures, which acted as references for painting and drawing. These hand-rendered works were then re-scanned and translated back into the digital space as 3D objects and textures for a video game environment. In this act, the supposedly “final” state of each medium became only a temporary stage in a longer cycle of transformation.

The resulting game became both a digital archive and an exploratory space, layering traces of every prior transformation: virtual clay became analog painting, painting became digital asset, and asset became explorable world. Rejecting the notion of objective “levels,” the game emphasized open-world exploration, where avatars derived from analog sources—clay, ballpoint pen, paint—traverse hybrid terrains. Players could encounter portals transporting these analog-informed avatars into new environments, each world carrying visible traces of its mixed-media origin.

Each act of digitization or projection—whether JPEG compression, pixelation, projection misalignment, or surface distortion—left behind visible traces of these processes. Instead of perceiving these visual artifacts as degradations or errors to be corrected, I embraced them as markers of authenticity and transformation, foregrounding the inherent material resistance and unpredictability of physical surfaces—brushstrokes, canvas textures, and sculptural imperfections—against the presumed perfection and malleability of the digital.