At first, my intention was to create a 3D-printed basket that would look as realistic as possible. Using a semi-industrial process to create a shell—devoid of any artisanal knowledge yet triggering the same aesthetic—was, to me, an interesting way to reconnect with the principle of heritage preservation.
From this work of replication, I experimented with parameters, materials, and shapes. Even though the process is automated, it gradually started to resemble a form of craftsmanship. At a certain point, I was no longer just trying to copy an object but rather to replicate a gesture.
I initially chose basketry because it is a process that is almost impossible to industrialize. I drew inspiration from the counterfeiting process: deconstructing an object, understanding its making, and reproducing it. By studying how the human hand actually works to create a basket, I then attempted to program software and a 3D printer to counterfeit this technique.