MY LAST TWO BRAIN CELLS

DIGITAL BODIES

RESEARCH & INSPIRATION

Research on artists or projects that work with the human body. This week, I explored how artists integrate the human body into their work, from anatomical studies to abstract representations. I found inspiration in projects like Stelarc's "Exoskeleton" and Antony Gormley’s sculptures, which use body forms to question identity, space, and the relationship between technology and flesh. These works encourage me to reflect on how the body can be both a subject and a medium, blending science and art in ways that push boundaries.

FULL WORKFLOW: STL to DXF and Laser Cutting

3D MODELLING

Process:

• Open MakeHuman → Adjust facial/body proportions as desired.

• Export as .OBJ.

• Import into Rhino for sizing, rotation, and trimming.
  

My initial plan was to scan my own body using a 3D scanner. However, technical issues resulted in incomplete models—missing feet, broken meshes—so I pivoted to using MakeHuman, an open-source avatar design tool. This decision allowed me to customize and exaggerate proportions, leaning into absurdity and stylization.

Using MakeHuman, I created a full-body model and exported the models as an .obj file and imported it into Rhino for further processing.

Rhino: Sizing, Positioning & STL Export

Once the model is imported into Rhino, I cleaned up the imported `.obj`, rotated the model for a better cut orientation, trimmed off the neck, and scaled it to match the size of an A3 cardboard sheet.

Using Rhino’s bounding box tools, I ensured the full head could be contained within the build volume of the Speedy 400 laser cutter. I exported the cleaned model as an `.STL` to be used in the slicing stage.

Slicing in Fusion360

I imported the `.STL` file into Slicer for Fusion360, an Autodesk plugin for converting 3D objects into laser-ready 2D slices. I selected the “Stacked Slices” method, ideal for layered cardboard sculpture. Material thickness was set to 3mm to match my cardboard sheets. The tool automatically generated slice geometry, including notches and alignment guides.

After reviewing the preview, I exported the layout as a DXF file, which I then cleaned up in Rhino to ensure hairline stroke widths and proper vector paths before importing them into the laser cutter software (Trotec JobControl).

Laser Cutting

Laser cutting was performed on the Trotec Speedy 400 using 3mm recycled cardboard. Sheets were placed flat on the honeycomb bed and secured with masking tape to prevent airflow displacement. Focus was manually set using the nozzle tool. A test cut confirmed that my DXF lines were properly vectorized and aligned.

Machine: Speedy 400
Material: 3mm cardboard
Hold method: Masking tape on edges
Focus: Manual with nozzle gauge

Cutting Settings:

Action	Power (%)	Speed (mm/s)	Frequency (Hz)	Passes
Vector Cut	~85%	~2 mm/s	1000 Hz	1

@bishgosh Brad && their Last Two Braincells SERVINGG. #3d #design #lasercutting #servingrealness ♬ original sound - Aimee Kelly

PAINT & PRE-ASSEMBLE

Before assembling the layers, I spray-painted them with a high-pigment neon pink paint. This helped saturate the cardboard without warping it. Once dry, I pre-stacked the slices in order to verify alignment before gluing.

ASSEMBLY PROCESS

Assembly involved layering each cut slice in sequential order using super glue. I started from the base layer and worked upwards, using the Slicer-generated numbering system. To make the piece interactive, I inserted two marbles inside the hollow cavity to produce sound when shaken, like a baby rattle. Two blue beads were glued in for the eyes, bringing the figure to life.

Each layer required careful alignment. A few pieces warped slightly during laser cutting due to material burn, so I manually sanded edges to keep slices flush.

@bishgosh Brad && their Last Two Braincells SERVINGG. #3d #design #lasercutting #servingrealness ♬ original sound - Aimee Kelly

FILES

• 🔗 STL File
• 🔗 DXF File
• 🔗 DXF File 2
• 🔗 Slice File
  

FINAL RESULTS

The final outcome is a stylized, layered sculpture of a human head—both humorous and uncanny. Its cartoonish pink finish, rattling interior, and hollow gaze give it personality and absurdism, aligning with my initial concept of exaggerating digital anatomy. I titled the piece My Last Two Brain Cells as a commentary on post-digital exhaustion and over-automation of the body through the expression "I'm on my last two braincells" and the physical sound of the two braincells rolling around in Brads head.

From scanning to modeling, slicing to painting, this workflow helped me understand how digital tools can turn abstract data into tactile, emotional objects. I intentionally allowed imperfection and humor into the process—mistakes became part of the final aesthetic.

@bishgosh Brad’s last two brain cells are giving!!! #lasercutting #designer #textiledesign #brad #artist ♬ original sound - Julia fox

REFLECTIONS

• I learned how to navigate between avatar creation and fabrication tools.

• I gained hands-on experience in file preparation and digital-to-physical workflows.

• I found ways to preserve personality and humor in a highly technical process.

💡 Next steps: I’d like to explore using other materials like leather fabrics, textile mesh, or copper-infused board for future body-based sculptural experiments. I’m especially curious how these fabrication methods can blend into wearable or sensory objects.