Lisa Meinesz’s work blurs the boundaries between the organic and the artificial, inviting us into a speculative world where technology doesn’t dominate nature—but enhances it. Through her intuitive approach to digital sculpting, she draws from the elegance of soft robotics and the complexity of synthetic biology, crafting forms that feel both alien and familiar. Her creations suggest a future where ecosystems evolve in tandem with engineered design, and where innovation is rooted in empathy with the natural world.
Beyond her personal practice, Lisa brings her futuristic vision to the screen, contributing to films like 3000 Years of Longing and In Vitro. Whether she is designing bio-inspired creatures or imagining the interfaces of tomorrow, her work always centers on storytelling. Each sculpture or digital artifact becomes part of a larger narrative—one where materials, machines, and biology converge in harmony.
Your work is deeply influenced by synthetic biology, soft robotics, and material ecology. How did you first become interested in these fields, and how do they inform your artistic practice?
I’ve always been fascinated by facilitating non-human life—probably first sparked by Ridley Scott’s Alien movies. Soft robotics immediately captivated me because it challenges our traditional view of machines. The idea of a flexible, almost organic robot made me think about how we might emotionally connect with synthetic life when it has qualities we can physically relate to.
Synthetic biologist Michael Levin sparked my curiosity in synthetic biology, particularly his work on how cells communicate and self-organize. Growing up in Australia, surrounded by nature, I developed a strong connection to the environment and a sense of responsibility, especially after witnessing the loss of native forests.
Discovering Neri Oxman’s work sparked hope. Her approach of using technology to empower nature, rather than just sustain it, shifted my perspective on how tech can be symbiotic, not just extractive.
Can you elaborate on your creative process when developing speculative life forms? What inspires the designs and concepts behind these entities?
Inspiration usually hits me like a truck from the most unexpected places. I dive, so the ocean is a constant source. I’m also drawn to mechanical and industrial objects—motorbike parts, antennas, braces, retro medical devices—raw, functional forms. I find the same appeal in veins through skin, unvarnished wood, cataracts.
That said, ideas often feel like they come from somewhere beyond me. I’ve woken up in the middle of the night with a clear vision of a form I need to build and spent hours sculpting it. It feels more like tapping into something subconscious than inventing.
I sometimes sketch, but I’m usually too impatient and dive straight into ZBrush or C4D. The form always evolves as I work—usually into something better. It’s a fluid, intuitive process where the work guides me as much as I guide it.
You often translate your digital sculptures into small-scale physical pieces using SLM aluminum 3D printing. What challenges and opportunities does this transition from digital to physical present?
Bringing something from the digital world into physical space is always a reality check. In 3D, I can create intricate, gravity-defying structures, but when translating them to physical form, I have to consider weight, balance, and manufacturing tolerances.
That said, there’s something really satisfying about holding a piece in your hand. It shifts its meaning—it becomes something more visceral, with its own presence in the world. That tangible reality adds layers of experience for the viewer, the work going from a digital abstraction to something they can interact with, feel, and relate to.
Your work encourages placing ecological considerations and symbiosis at the forefront of creation. How do you see art contributing to broader conversations about ecology and sustainability?
There’s a lot of talk around sustainability with the state we’re in, and I think art can offer another important angle—something more emotional, about reshaping our connection to nature, tech, and evolution.
I explore speculative synthetic lifeforms designed to support natural life and ecosystems. If that sparks even a small sense of wonder or curiosity, I believe it contributes to the broader conversation in a meaningful way.
How do you balance digital and physical mediums in your work, particularly with 3D printing?
For me, the idea always dictates the medium. Some forms are meant to remain digital—where there are no physical limits, and I can push detail, scale, or movement in ways that wouldn’t translate in the real world. Other times, I feel a strong pull to make something tangible, to see how it interacts with light, space, and people.
Given the energy and resources involved in 3D printing, I often ask myself: is it truly necessary for this piece to be physical?
The shift from screen to object always brings unexpected challenges, but I love that. The tension between digital possibilities and physical constraints is where some of the most interesting things happen in my work.
How does your multicultural background shape the concepts and themes in your art?
My background shapes the way I view hybridity. I’ve always been drawn to in-between spaces—where things aren’t one or the other, but something entirely new. That’s a big theme in my work—creating synthetic-organic hybrids that don’t belong to any known ecosystem. I love the idea of fluidity, of forms that evolve rather than stay fixed.
I grew up in a multicultural household, which was enriching—but it also left me feeling like I didn’t fully belong to any one of them. My mum is Malaysian-Indian, and my dad is Dutch—but he grew up in South Africa. I’ve always felt like a hybrid of many places and influences. I didn’t really feel Australian until I moved abroad for work at 19, to Hong Kong, and my European friends pointed out my accent—only then did I realize I had one!
How do you see technology enhancing or challenging traditional art forms?
What first drew me to digital art was how accessible it felt. In traditional art, the work is often shaped by the materials, tools, or the space you have. But with digital art, as long as you have a computer, you can create anything, at any scale, all within these pixels. It’s exciting to work in 3D to speculate on utopic futures and think about the implications of advanced biotechnology—with complete creative freedom—without worrying about access to a robotic wet lab or 3D bioprinter.
I used to be all about manual craftsmanship. Growing up, I lived in my dad’s woodworking workshop, which was part of a large industrial fencing factory. Back then, I had access to materials and space, so for a long time, I didn’t fully appreciate or see the creative potential in CGI.
Now, I have a huge appreciation for both. I still draw heavily from traditional processes—especially in how I approach detail. My digital approach is also very ‘manual,’ using minimal computational or algorithmic design tools. What really excites me is where digital tools and traditional methods converge.
Could you discuss any upcoming projects or collaborations you’re excited about?
I’m currently working on taking my soft robotic series off-screen, starting with a stingray sculpture—Soft Connection. It’ll be a sculpted ray cast in a 3D-printed mold, inflated by a mechanical pump, with a robotic arm holding a scalpel hovering overhead. It’s going to be a lengthy process because I’ve been determined to make everything from scratch—including the electronics and mechanical systems for the pump and robotic arm. I’ve been doing Neil Gershenfeld’s Fab Academy to help with this process.
Outside of art, when I have more time and resources, I’d love to apply my knowledge of digital fabrication to real-world conservation projects. 3D-printed calcium carbonate reefs are particularly fascinating to me—they’re a prime example of how technology can actively rebuild natural environments.
All images courtesy of Lisa Meinesz, shared with permission
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