Collaboration in 3D: An Artist and A Fabricator Share Tips

By Marya Triandafellos

As part of NYCxDESIGN, I connected with David Lynshue, fabricator, technologist, and my phase two fabrication partner on the Born Again Road Kill (BARK) sculpture series. By retelling the story of our collaboration, we explored how digital fabrication can transforming the artist-fabricator relationship and expanding what’s possible for artists today.

Origin of BARK

The BARK series began on the streets of New York. I was captivated by found metal fragments such as car parts and industrial scraps because of their graphic beauty and their mysterious function and origins. After assembling a large collection, and I realized they had figurative attributes: A gear looked like a head, a flattened can look like a skirt. It makes sense, because humans build mechanical systems that echo our own bodies.

I started collaging the pieces into figures, and the BARK were brought to life. This led to the creation of nine unique sculptures, which I cast in bronze overseas, using traditional methods. However, the process was rigid: the artist creates, the fabricator executes. There was no room for engagement, experimentation, or iteration.

Being Accepted into NYCxDESIGNxSOUVENIR

I put the sculptures aside for several years. But when I came across the NYCxDESIGNxSOUVENIR exhibition last year, I immediately thought BARK would be a great fit. The show features artistic interpretations of New York souvenirs, often from an industrial design perspective. I was honored to be accepted into this year’s exhibition and used the opportunity to revisit BARK through the lens of digital fabrication. I was curious how I could incorporate it into my art practice.

Technical Capabilities of Digital Fabrication

Digital fabrication offers artists tools once reserved for industry. It includes four key capabilities: scan, print, surface, and visualization. First, a sculpture is scanned at high resolution, creating a precise digital replica that can be archived, edited, or transformed. Then, using the print capability, the digital model can be fabricated at various scales and in different materials such as resin, bronze, wood, or milled composites. Surface tools allow artists to experiment with color, texture, and patina digitally before applying them physically, supporting creative decision-making and material testing. Finally, visualization lets artists preview how a piece will behave in a real-world environment. This includes how it interacts with light, space, or weather conditions. Together, these capabilities streamline production, reduce costs, and open up a broad range of expressive possibilities for artists.

The Current State of Scanning and Printing

David and I worked closely to digitize the BARK sculptures. He introduced me to current scanning capabilities, which can now capture artworks with near 1:1 fidelity, similar to high-resolution photography.

The pace of progress in printing is even more exciting. Files can now be output in materials that once required large-scale industrial processes, including milled wood, silicone, and metal composites. What once demanded costly molds or factory resources can now be achieved affordably, flexibly, and in small quantities. Small-batch production enables new formats like functional objects, public artworks, and limited collector editions, while maintaining the integrity of the original work.

In addition to scanning objects, entire environments can be scanned to create virtual models. Artists can apply this process to preview how a sculpture might cast shadows, reflect light, or withstand environmental conditions, all before anything is physically built.

The Conventional Ecosystem of Collector and Artist

Traditionally, an artist creates a work, a collector purchases it, and the artist does not extend the revenue generating opportunities of their intellectual property. The piece may gain value, but the artist has no ongoing relationship to it and receives no residual benefit. The economic value accumulates downstream, while the creator is left out of that growth.

How Digital Fabrication Supports Broader Output for the Artist

Digital fabrication creates a more fluid and sustainable model. Once a sculpture is scanned, it becomes a living digital asset. I can remix it, scale it, test materials, and explore entirely new applications. This allows for continuous creation and wider audience engagement. I no longer think in terms of single objects. I think in terms of a system of expression. Like a brand, my practice can includes wearable pieces, large-scale installations, and functional design. Collectors are not just purchasing one object. They are investing in an evolving creative vision.

That is the future I am working toward. Digital tools enhance artistic integrity by expanding the possibilities for creation, connection, and growth.

Video of the talk which was part of NYCxDESIGN 2025