2.5 D explores the interstices between representation and materiality. Driven by a desire to challenge the conventional boundaries of photography, I sought to understand how an image could take on physical form — how it might extend into space.

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Starting from analogue photographs of New York buildings, I initiated a dimensional shift. Once scanned, the negatives were imported into a 3D modeling program. By tracing the architectural outlines and rotating them around themselves, I generated abstract shapes, reminiscent of vases. These objects, first contained within the two-dimensionality of the screen, were later materialized through 3D printing.

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This constant back-and-forth — from real to photographed, to modeled, to sculpted — dismantles the idea of linear representation. It reveals a space of tension, a shifting in-between, where the image becomes form, and the form retains the imprint of its visual origin.

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The digital skeleton of these volumes — the wireframe — acts as a threshold: neither fully image, nor yet object. It embodies that intermediate space I call 2.5 D.

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In this project, photography is not an endpoint, but a point of origin — a catalyst for transformation. The installation, conceived as a triptych — initial photograph, digital structure, and final sculpture — highlights this circulation of form, inviting the viewer to traverse the various layers of perception.