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am also in the process of making an installation of hundreds of laser-cut pieces that will measure approximately nine by 30 feet at the Coda Museum in Holland, and a smaller wall-based installation (six by four feet) of cellular sculptures that will be exhibited in the US in Maine at the MDI Laboratory. DM: You make it a point to hand cut most of your work. Considering the method to be performative, however, you have done a few laser cut pieces. What are the benefits between hand cutting certain pieces and laser cutting others? Does your chosen method of cutting affect the meaning behind a piece? RB: Actually, half my work is hand cut and half is laser cut. Because paper is cheap and easy to laser cut, it lends itself well to large-scale composite installations. You can also create much more detailed work on a smaller scale with a laser. A piece such as Clone would be almost impossible by hand. On a conceptual level, the hand cut work signifies in a completely different way because process is really more important than the finished artifact. The hand cut pieces can take up to five months to complete, and all this time, patience and labor is visible in every slice and cut. People respond very positively to this aspect of the work. In a digital age where everything that surrounds us is designed and built by computer-controlled machines, this return to craft, to the hand made, is becoming increasingly rare, although I have been linked with other artists, designers, and architects as being part of the ‘post-digital’ movement, marking a return to ‘tactile, physically immersive experience’. I hand cut in this painstaking way because I want to communicate that the act of ‘seeing’ is a difficult one, requiring enormous effort and concentration to penetrate through habitual ways of looking in order to see something from a different angle or a fresh perspective. The idea of scale is important here too. I believe that we struggle to comp