Matthew Plummer-Fernandez For Rhizome's Community Fundraiser


In the final week of Rhizome's Community Fundraising Campaign, we profile seven artists hand-picked by Rhizome to generously contribute artworks, ensuring you receive compelling thank you gifts at every donation level. Give now to receive one of these works.

Matthew Plummer-Fernandez is a London-based artist who combines scanning, 3D printing, and computational approaches to make remixed art objects. His 3D printed works expose the limitations of the technology and the glitches that occur when translating real objects into digital ones.

In his Digital Natives series, Plummer-Fernandez samples everyday household items, remixes them using his own software, and then 3D prints them using a z-corp printer with a color resin, in order to blur the line between the real and the digital. Once functional objects are rendered useless, but beautiful, in their new algorithmically abstracted forms. Laura Davidson reviews Plummer-Fernandez's work for Rhizome, noting he takes: "...a more creative approach to engineering... His work proposes new ways in how we discuss the process of making a crafted object. Algorithms and their parameters become a tool to be mastered in the same way a lathe or a chisel would be... The results are almost alchemic and magical."

For Rhizome's Community Fundraiser, Plummer-Fernadez has donated two limited edition pieces from the Digital Natives series, available at the $1,000 level. The designs were based on a scan of a typical yellow ceramic jug and transformed using the artist's software. These unique table sculptures will be printed in the color of your choice. 

Images courtesy of the artist


You will also become a member of the Rhizome Council, a leadership council for significant supporters that brings you closer to Rhizome. As a member, you will be invited to special Council-only events including intimate studio visits with entrepreneurs and artists in ...


Scenes from the London 3D Printshow


Matthew Plummer-Fernandez, Digital Natives (2012)

“The internet changed the world in the 1990s, the world is about to change again,” read much of the promotional literature for the recent 3D Printshow in London. The commercial exhibitors might have benefited from a far more modest tag line, but the art work exhibited, separate from the main trade section of the show, gave much new to think about regarding the the relationship between technology and craft.

 Frederik de Wilde, M1ne IIII (2012)

I was immediately intrigued by the two sculptural objects on display by Frederik de Wilde. The cobalt chrome models had been printed from data gathered from Belgian coal mines. They presented themselves as futuristic objects with a link to Europe's industrial heritage. The representations of the coal mines came to the 3D Printshow as seemingly abstract objects but, were actually formed by a much more political process. It had been a laborious process for de Wilde to get access to the data. He remarked that being granted permission to use a data source as an artist is almost an art form in itself. The Belgian government are protective over the information as the mines contain elements of interest to multinationals and other nations. De Wilde was not permitted in the work to reveal the location of the mines and had to abstract the forms so that interested parties could not gain commercial advantage. The custodians of the data had a large say in what the outcome of the piece would be. This is an intriguing collaborative process if it can be considered as such. The models of the coal mines had been stacked inside each other to create fragile vessels, that also further abstracted the context of the data. The production values of both objects were also noteworthy. I ...