Optics-based entertainment evolved alongside its scientific applications in the 17th century, generating tools that fractured reality into illusions. Precursors to digital technologies, these devices extended perception while binding us irrevocably to the corporeal—fleshbound and entangled within a network of human/non-human reciprocities. My work integrates lens- and optics-based instruments with printmaking techniques, producing spatial ruptures rooted in the genealogies of printmaking. Through this interplay, I explore the tension between the weight of embodied existence and the boundless abstraction of the digital.