WE ARE ON THE BRINK OF A 3D PRINTING REVOLUTION. COMMERCIAL USES SUCH AS PRINTED FIGURINES PROVIDE A REPRESENTATION OF THE SITTER DISPLAYED AS A PHOTOGRAPHIC OBJECT. BUT WHAT IS THE LEGACY OF THESE OBJECTS? WILL THEY EVER BE VALUED AS HIGHLY AS A PHOTOGRAPH OR PAINTING? THE WORK SETS OUT TO CREATE A DIALOGUE BETWEEN OLD AND NEW. BREAKING THE GENERIC AND SUBJECTIVE TENDENCIES OF THE MINI STATUES BY REINTRODUCING ELEMENTS OF TRADITIONAL PORTRAITURE, WHICH ARE ABSENT IN THIS PROCESS. BY APPROPRIATING FAMOUS WORKS FROM THE HISTORY OF PORTRAITURE, REVERTING THEM FROM 3D PHOTOGRAPHIC OBJECT AND THEN BACK TO 2D PRINT IN ORDER TO CREATE A TENSION AND IRONY WITHIN THE WORK. THE PHOTOGRAPHED FIGURINES, NOW IN THEIR 2D FORM, ARE C-TYPE PRINTED TO THE EXACT SIZE OF THE ORIGINAL ARTWORKS. BY SHOWING THE SITTERS IN TWO DIFFERENT VIEWING STYLES, ONE SCULPTURAL, IN WHICH THE AUDIENCE IS FORCED TO CONSIDER THE ENTIRETY OF THE FORM AS IT HOLDS SPATIAL COMPLEX DIMENSIONS WHICH UNFOLD IN THE SPACE. TO CONTRAST THIS THE PRINTED IMAGE IN WHICH THE ARTISTS OR PHOTOGRAPHER HAS THEIR OWN SUBJECTIVE IMPRESSIONS INTO THE VIEWERS ENGAGEMENTS THROUGH PRINT SIZE, CROP, ANGLE AND LIGHTING TECHNIQUES. THIS METHOD OF THINKING AND VIEWER ENGAGEMENT IS TO MAKE A COMMENT ON THE WAY WE PERCEIVE THE 3D PRINTED FIGURINES AS A FORM OF PORTRAITURE.