This artwork originates from a physical magazine about David Lynch's filmography, that has been digitized through scanning, transforming a tactile object into a high-resolution digital image. The scanning process functions as a method of translation, preserving textures, traces, and material irregularities while simultaneously detaching them from their original physical context. Once digitized, the image undergoes a process of digital editing, where scale, contrast, composition, and layering are manipulated to construct a new visual language.
Through this intervention, the work exists in a hybrid space between material and immaterial, analogue and digital. The editing process does not merely reproduce the original, but reconfigures it—introducing shifts, distortions, and recontextualizations that emphasize the instability of the image as an object. The scan becomes both document and raw material, while digital tools act as instruments of transformation.
The final piece reflects on processes of mediation, reproduction, and authorship, questioning the boundaries between original and copy. By merging physical traces with digital manipulation, the work proposes an expanded notion of materiality, where the image operates as a surface of memory, translation, and reconstruction.
