Published Article / This article examines the synergy between aesthetic and technical issues surrounding current input and output modes applicable to digital sculpture built by means of additive fabrication technologies. The scope is limited to select sculptural aspects that either transcend, question or fall short when measured against traditional manufacturing and aesthetic modes. Presented are a range of technical as well as aesthetic aspects that have impacted on this ''new form'' of sculpture delivery. It is indicated that irrespective of current strengths and weaknesses, for the evolving sculptor, an interactive creative partnership between technologies equally positions this ''new form'' of sculpture delivery as a leading role player towards defining a new digital aesthetic.

My most recent body of work explores the synthesis of my influences, interests and life experiences into imagery of common themes: The expression of dynamic figures and forms and colors in digital 3d space, cinematic composition, and vibrant color, expressed through a semblance of Aztec culture and wildlife. My sculptures of nature and ancient culture are created using contemporary digital art creation technologies and techniques. I examine the art and religion of the Aztecs and the universal search for understanding and purpose in the world and the forces around and beyond us.

The thesis is a continuation of my subject, "Why?", Also includes the theme of man and the environment. I started to be interested in the controversial topic of genetically modified organisms, genetic engineering. I found a personal story in it. Now it is difficult to comment on the extent to which these researches are important, but we shouldn’t stop there.

This dissertation thesis is focused on the search for the presence of DIY (Do It Yourself) technologies in the practice of digital sculpting, from the beginnings of this progressive way of creation to the present. The work, through three thematic areas, answers the main research questions: What kind of technology is or has the DIY phenomenon been represented in digital sculpture? How have these technologies influenced and are influencing the development and direction of digital sculpture? Within the first thematic area, the presence of the DIY phenomenon in the beginnings of digital creation of a spatial work of art is mapped until the moment of constituting the concept of Digital Sculpture, as a designation of this new way of creation. The second area deals with specific technologies of digital sculpture, in terms of technical tools and their DIY alternatives. The development of these alternative technologies and their influence on the gradual democratization of digital sculpture tools is investigated. The third area examines the creative methods of DIY, which have been integrated into the practice of digital sculpture.