The series 'In Reproduction I Hope' engages with historical reiteration-not as mere replication, but as an excavation of futures that nearly solidified and might yet be imagined. Through the digital distortion and material erosion of the 'Nimrod’, the biblical hunter figure, these sculptures evoke an archaeology of lost possibilities, gesturing toward an alternative past where the shared cultural space of the Levant-before the rupture of 1948-was not an impossibility, but a dream still forming. In these reconfigurations, the artifact flickers between remembrance and reinvention, between the weight of history and the elasticity of what could have been. By exposing the fractures of the present, the work dares to ask: if histories can be reproduced, can they also be reimagined?