After working with molding and casting techniques for a long time, it occurred to me that I could do essentially the same thing digitally, using 3D scans instead of molds, and computer-numerically controlled (CNC) carving machines instead of casting. Although initially I was told this was impossible, eventually I found some equipment and software that allowed me to do it. Besides taking up a lot less space than a collection of molds, this approach gave me a lot more fluidity in what I could do with the natural forms that continued to furnish my source material. Scale, for instance, became mutable, and digital techniques like mirroring, interpenetration and Boolean intersections vastly expanded the range of sculptural possibilities at my command. Producing sculpture by subtractive machining gave me access to materials like wood, bone and vegetable ivory that hadn’t been accessible to my process before, so I was finally able to carve with the same fluidity as casting.