Au-delà du soleil
Artist's book, self-published, 2024, edition of 6, 400 pages
This artist book, which I started in 2023, is an artistic exploration of DUV and EUV photolithography. It is driven by my fascination with the visual language, materials and processes involved. Through this ongoing work, I explore photolithography — a photographic process that underpins nearly every integrated circuit, from processors to image sensors, forming the basis of digital images. Through this process, I aim to reveal what an experimental and critical approach to this technology can uncover.
The project approaches DUV and EUV photolithography through photography, archival material, and text. It began with visits to a semiconductor cleanroom, where I photographed lithography machines, silicon wafers, and microscopic patterns, and where I also worked directly with photolithographic equipment — exposing a silicon wafer myself. From these encounters, the book develops a visual language organized around density, layering, gaps, resolution, scale, rhythm, and repetition.
A central section presents two speculative, deliberately non-functional microchips. Their layered architecture of metal interconnects, lithographic patterning steps, and geometric formations serves as a visual entry point into the logic of semiconductor fabrication.
The book is a work in progress.
Only a small selection is shown here. For more, please contact me: stephaniestern@pm.me”
Au-delà du soleil
Artist's book, self-published, 2024, edition of 6, 400 pages
This artist book, which I started in 2023, is an artistic exploration of DUV and EUV photolithography. It is driven by my fascination with the visual language, materials and processes involved. Through this ongoing work, I explore photolithography — a photographic process that underpins nearly every integrated circuit, from processors to image sensors, forming the basis of digital images. Through this process, I aim to reveal what an experimental and critical approach to this technology can uncover.
The project approaches DUV and EUV photolithography through photography, archival material, and text. It began with visits to a semiconductor cleanroom, where I photographed lithography machines, silicon wafers, and microscopic patterns, and where I also worked directly with photolithographic equipment — exposing a silicon wafer myself. From these encounters, the book develops a visual language organized around density, layering, gaps, resolution, scale, rhythm, and repetition.
A central section presents two speculative, deliberately non-functional microchips. Their layered architecture of metal interconnects, lithographic patterning steps, and geometric formations serves as a visual entry point into the logic of semiconductor fabrication.
The book is a work in progress.
Only a small selection is shown here. For more, please contact me: stephaniestern@pm.me”
Au-delà du soleil
Artist's book, self-published, 2024, edition of 6, 400 pages
This artist book, which I started in 2023, is an artistic exploration of DUV and EUV photolithography. It is driven by my fascination with the visual language, materials and processes involved. Through this ongoing work, I explore photolithography — a photographic process that underpins nearly every integrated circuit, from processors to image sensors, forming the basis of digital images. Through this process, I aim to reveal what an experimental and critical approach to this technology can uncover.
The project approaches DUV and EUV photolithography through photography, archival material, and text. It began with visits to a semiconductor cleanroom, where I photographed lithography machines, silicon wafers, and microscopic patterns, and where I also worked directly with photolithographic equipment — exposing a silicon wafer myself. From these encounters, the book develops a visual language organized around density, layering, gaps, resolution, scale, rhythm, and repetition.
A central section presents two speculative, deliberately non-functional microchips. Their layered architecture of metal interconnects, lithographic patterning steps, and geometric formations serves as a visual entry point into the logic of semiconductor fabrication.
The book is a work in progress.
Only a small selection is shown here. For more, please contact me: stephaniestern@pm.me”
Relics don't end up in Themselves
Fanzine, June 2024, A3+
This fanzine presents a series of 3D scans of a bouquet already beginning to decay, spread across twelve pages. Made with a smartphone, the work developed through the act of walking around the bouquet while the device continuously translated its surface into a three-dimensional mode.The work asks what happens to an object's significance when it moves from material to digital form and back again. Does the scanned 3D image function as a memento mori—a way of holding onto ephemeral beauty against the certainty of decay? Or does the act of scanning itself produce something else: a new kind of relic emerging from the encounter between organic matter and technological process?
The work considers how non-human agents, such as the scanner and algorithm, participate in this transformation, and asks what persists through this translation. Drawing on the still-life tradition's engagement with mortality and transience, it explores what it means for a relic to exist as information.
Relics don't end up in Themselves
Fanzine, June 2024, A3+
This fanzine presents a series of 3D scans of a bouquet already beginning to decay, spread across twelve pages. Made with a smartphone, the work developed through the act of walking around the bouquet while the device continuously translated its surface into a three-dimensional mode.The work asks what happens to an object's significance when it moves from material to digital form and back again. Does the scanned 3D image function as a memento mori—a way of holding onto ephemeral beauty against the certainty of decay? Or does the act of scanning itself produce something else: a new kind of relic emerging from the encounter between organic matter and technological process?
The work considers how non-human agents, such as the scanner and algorithm, participate in this transformation, and asks what persists through this translation. Drawing on the still-life tradition's engagement with mortality and transience, it explores what it means for a relic to exist as information.
Relics don't end up in Themselves
Fanzine, June 2024, A3+
This fanzine presents a series of 3D scans of a bouquet already beginning to decay, spread across twelve pages. Made with a smartphone, the work developed through the act of walking around the bouquet while the device continuously translated its surface into a three-dimensional mode.The work asks what happens to an object's significance when it moves from material to digital form and back again. Does the scanned 3D image function as a memento mori—a way of holding onto ephemeral beauty against the certainty of decay? Or does the act of scanning itself produce something else: a new kind of relic emerging from the encounter between organic matter and technological process?
The work considers how non-human agents, such as the scanner and algorithm, participate in this transformation, and asks what persists through this translation. Drawing on the still-life tradition's engagement with mortality and transience, it explores what it means for a relic to exist as information.
Relics don't end up in Themselves
Fanzine, June 2024, A3+
This fanzine presents a series of 3D scans of a bouquet already beginning to decay, spread across twelve pages. Made with a smartphone, the work developed through the act of walking around the bouquet while the device continuously translated its surface into a three-dimensional mode.The work asks what happens to an object's significance when it moves from material to digital form and back again. Does the scanned 3D image function as a memento mori—a way of holding onto ephemeral beauty against the certainty of decay? Or does the act of scanning itself produce something else: a new kind of relic emerging from the encounter between organic matter and technological process?
The work considers how non-human agents, such as the scanner and algorithm, participate in this transformation, and asks what persists through this translation. Drawing on the still-life tradition's engagement with mortality and transience, it explores what it means for a relic to exist as information.
Relics don't end up in Themselves
Fanzine, June 2024, A3+
This fanzine presents a series of 3D scans of a bouquet already beginning to decay, spread across twelve pages. Made with a smartphone, the work developed through the act of walking around the bouquet while the device continuously translated its surface into a three-dimensional mode.The work asks what happens to an object's significance when it moves from material to digital form and back again. Does the scanned 3D image function as a memento mori—a way of holding onto ephemeral beauty against the certainty of decay? Or does the act of scanning itself produce something else: a new kind of relic emerging from the encounter between organic matter and technological process?
The work considers how non-human agents, such as the scanner and algorithm, participate in this transformation, and asks what persists through this translation. Drawing on the still-life tradition's engagement with mortality and transience, it explores what it means for a relic to exist as information.
Au-delà du soleil
Artist's book, self-published, 2024, edition of 6, 400 pages
This artist book, which I started in 2023, is an artistic exploration of DUV and EUV photolithography. It is driven by my fascination with the visual language, materials and processes involved. Through this ongoing work, I explore photolithography — a photographic process that underpins nearly every integrated circuit, from processors to image sensors, forming the basis of digital images. Through this process, I aim to reveal what an experimental and critical approach to this technology can uncover.
The project approaches DUV and EUV photolithography through photography, archival material, and text. It began with visits to a semiconductor cleanroom, where I photographed lithography machines, silicon wafers, and microscopic patterns, and where I also worked directly with photolithographic equipment — exposing a silicon wafer myself. From these encounters, the book develops a visual language organized around density, layering, gaps, resolution, scale, rhythm, and repetition.
A central section presents two speculative, deliberately non-functional microchips. Their layered architecture of metal interconnects, lithographic patterning steps, and geometric formations serves as a visual entry point into the logic of semiconductor fabrication.
The book is a work in progress.
Only a small selection is shown here. For more, please contact me: stephaniestern@pm.me”
Au-delà du soleil
Artist's book, self-published, 2024, edition of 6, 400 pages
This artist book, which I started in 2023, is an artistic exploration of DUV and EUV photolithography. It is driven by my fascination with the visual language, materials and processes involved. Through this ongoing work, I explore photolithography — a photographic process that underpins nearly every integrated circuit, from processors to image sensors, forming the basis of digital images. Through this process, I aim to reveal what an experimental and critical approach to this technology can uncover.
The project approaches DUV and EUV photolithography through photography, archival material, and text. It began with visits to a semiconductor cleanroom, where I photographed lithography machines, silicon wafers, and microscopic patterns, and where I also worked directly with photolithographic equipment — exposing a silicon wafer myself. From these encounters, the book develops a visual language organized around density, layering, gaps, resolution, scale, rhythm, and repetition.
A central section presents two speculative, deliberately non-functional microchips. Their layered architecture of metal interconnects, lithographic patterning steps, and geometric formations serves as a visual entry point into the logic of semiconductor fabrication.
The book is a work in progress.
Only a small selection is shown here. For more, please contact me: stephaniestern@pm.me”
Au-delà du soleil
Artist's book, self-published, 2024, edition of 6, 400 pages
This artist book, which I started in 2023, is an artistic exploration of DUV and EUV photolithography. It is driven by my fascination with the visual language, materials and processes involved. Through this ongoing work, I explore photolithography — a photographic process that underpins nearly every integrated circuit, from processors to image sensors, forming the basis of digital images. Through this process, I aim to reveal what an experimental and critical approach to this technology can uncover.
The project approaches DUV and EUV photolithography through photography, archival material, and text. It began with visits to a semiconductor cleanroom, where I photographed lithography machines, silicon wafers, and microscopic patterns, and where I also worked directly with photolithographic equipment — exposing a silicon wafer myself. From these encounters, the book develops a visual language organized around density, layering, gaps, resolution, scale, rhythm, and repetition.
A central section presents two speculative, deliberately non-functional microchips. Their layered architecture of metal interconnects, lithographic patterning steps, and geometric formations serves as a visual entry point into the logic of semiconductor fabrication.
The book is a work in progress.
Only a small selection is shown here. For more, please contact me: stephaniestern@pm.me”
Relics don't end up in Themselves
Fanzine, June 2024, A3+
This fanzine presents a series of 3D scans of a bouquet already beginning to decay, spread across twelve pages. Made with a smartphone, the work developed through the act of walking around the bouquet while the device continuously translated its surface into a three-dimensional mode.The work asks what happens to an object's significance when it moves from material to digital form and back again. Does the scanned 3D image function as a memento mori—a way of holding onto ephemeral beauty against the certainty of decay? Or does the act of scanning itself produce something else: a new kind of relic emerging from the encounter between organic matter and technological process?
The work considers how non-human agents, such as the scanner and algorithm, participate in this transformation, and asks what persists through this translation. Drawing on the still-life tradition's engagement with mortality and transience, it explores what it means for a relic to exist as information.
Relics don't end up in Themselves
Fanzine, June 2024, A3+
This fanzine presents a series of 3D scans of a bouquet already beginning to decay, spread across twelve pages. Made with a smartphone, the work developed through the act of walking around the bouquet while the device continuously translated its surface into a three-dimensional mode.The work asks what happens to an object's significance when it moves from material to digital form and back again. Does the scanned 3D image function as a memento mori—a way of holding onto ephemeral beauty against the certainty of decay? Or does the act of scanning itself produce something else: a new kind of relic emerging from the encounter between organic matter and technological process?
The work considers how non-human agents, such as the scanner and algorithm, participate in this transformation, and asks what persists through this translation. Drawing on the still-life tradition's engagement with mortality and transience, it explores what it means for a relic to exist as information.
Relics don't end up in Themselves
Fanzine, June 2024, A3+
This fanzine presents a series of 3D scans of a bouquet already beginning to decay, spread across twelve pages. Made with a smartphone, the work developed through the act of walking around the bouquet while the device continuously translated its surface into a three-dimensional mode.The work asks what happens to an object's significance when it moves from material to digital form and back again. Does the scanned 3D image function as a memento mori—a way of holding onto ephemeral beauty against the certainty of decay? Or does the act of scanning itself produce something else: a new kind of relic emerging from the encounter between organic matter and technological process?
The work considers how non-human agents, such as the scanner and algorithm, participate in this transformation, and asks what persists through this translation. Drawing on the still-life tradition's engagement with mortality and transience, it explores what it means for a relic to exist as information.
Relics don't end up in Themselves
Fanzine, June 2024, A3+
This fanzine presents a series of 3D scans of a bouquet already beginning to decay, spread across twelve pages. Made with a smartphone, the work developed through the act of walking around the bouquet while the device continuously translated its surface into a three-dimensional mode.The work asks what happens to an object's significance when it moves from material to digital form and back again. Does the scanned 3D image function as a memento mori—a way of holding onto ephemeral beauty against the certainty of decay? Or does the act of scanning itself produce something else: a new kind of relic emerging from the encounter between organic matter and technological process?
The work considers how non-human agents, such as the scanner and algorithm, participate in this transformation, and asks what persists through this translation. Drawing on the still-life tradition's engagement with mortality and transience, it explores what it means for a relic to exist as information.
Relics don't end up in Themselves
Fanzine, June 2024, A3+
This fanzine presents a series of 3D scans of a bouquet already beginning to decay, spread across twelve pages. Made with a smartphone, the work developed through the act of walking around the bouquet while the device continuously translated its surface into a three-dimensional mode.The work asks what happens to an object's significance when it moves from material to digital form and back again. Does the scanned 3D image function as a memento mori—a way of holding onto ephemeral beauty against the certainty of decay? Or does the act of scanning itself produce something else: a new kind of relic emerging from the encounter between organic matter and technological process?
The work considers how non-human agents, such as the scanner and algorithm, participate in this transformation, and asks what persists through this translation. Drawing on the still-life tradition's engagement with mortality and transience, it explores what it means for a relic to exist as information.