In enorê’s practice, projects often begin as both 2D drawings and 3D digital sketches before evolving into 3D printed ceramic sculptures. Back into Earth originates from one such sketch, later developed into a physical ceramic work presented in a group exhibition at Somerset House. The print captures this transitional stage—where image, code and material begin to converge.

All visual elements in Back into Earth were constructed using 3D software before being translated into layered Risograph print. The process mirrors the artist’s broader methodology: forms move from digital modelling into physical substance, and then return again to image. No single state is definitive.

Conceptually, the work emerged from reflections on digital devices and objects carried close to the body: phones, wearables, interfaces that mediate intimacy. Through this lens, Back into Earth considers care within technologically entangled environments, asking how we attend to bodies, and to disembodied presences, in increasingly digital spaces.

The layering of the Risograph intensifies this sense of mediation. Each printed stratum echoes the stacked logic of modelling software, reinforcing the work’s movement between surface and depth, screen and touch.

Produced in a strictly limited edition of 100, Back into Earth remains in dialogue with its sculptural counterpart while standing as an independent work in its own right.

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