http://www.vittoriadistefano.net/artwork daily 1.0 2025-10-20 https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1520565243631-25FMVIYR2JTW1TRX5MYC/IMG_5140.jpg Work https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1534996776925-IUSBGIFGESAGNWJHQLVR/c3_Aug-72.jpg Work https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1562628038315-7XMROEABCECLL4KEVJBY/IMG_1392.JPG Work - IKEA tables, tiles, mirrors, soap flakes, soap, salon wax, plaster, plastic sheeting, fake nails The Bride’s Room was part of Prima Materia, curated by Emily Jones, which also featured the work of Julie Gough, Alicia King, Linda Persson (SWE), Andre Piguet, Michael GF Prior, Yhonnie Scarce and Zilverster (Goodwin and Hanenbergh). Bundoora Homestead May - July 2019 The Bride’s Room reimagined tropes of feminine identity through an exploration of a materiality that is both domestic and uncanny. Taking Marcel Duchamp’s Large Glass as a reference point, the work imagines a new narrative for the Bride, one in which she escapes from between the panes of glass, only to find herself navigating a new terrain. The work consists of a collection of part objects in a site containing fragments of various domestic signifiers: IKEA furniture, the chequered pattern of a kitchen floor, bathroom tiles, ubiquitous mirrors. Substances associated with cleansing and beautifying such as soap flakes, soap and wax are transmuted into fragmented, abjected forms that examine notions of beauty and domestic labour. This work cites the private realm of the female subject and the relationship between one’s interior and exterior landscapes in the construction of identity. https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1551847127695-OKVZIEG1IDXJJIHGSGLX/c3Jan-68.jpg Work - Toilets, IKEA tables, IKEA cabinets and doors, tiles, soap flakes, soap Polyvalance Suite was included in the group exhibition Invisible Bridge at c3 Artspace in February 2019. Invisible Bridge brought together four artists - Kari MacKinney-MacRae, John Brooks, Vittoria Di Stefano and Ro Noonan - with overlapping investigatory concerns, working in the area of object-based sculpture. This exhibition was held at c3 Artspace in the Abbottsford Convent in February 2019. Within their sculptural practices the artists hold individual and collective interest in the transformative, evocative and psychological implications of material investigation. For the context of this exhibition the artists investigated these interests with the intention of materially interrogating the notion of “the bridge” by expanding identified overlapping objectives and qualities in their practices – intimacy, memory, temporality and tactility. Additionally, the works investigated ideas regarding human/material agency within the processes of formalisation, and how constructed material conditions can facilitate a sense of flux and in-betweenness. Photography by Aaron Christopher Rees https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1480721218291-NWSMN278N6DXLHOCAEY1/IMG_0496.jpg Work - wax, salon plastic sheeting, rubber cable, magnets, iron filings Rubicon ARI, Melbourne, November 2016 Curated by Kent Wilson. Also featuring Steven Rendall, James Little and Samson Martin. “The term “running interference” refers to the act of creating a distraction or diversion. Interference, in physics, can be constructive or destructive, reinforcing or reducing the amplitude of combining waves. In this show, curated by Kent Wilson, the work of four artists is presented. The selection is diverse in approach, material and presentation, but each artist utilises layering and juxtaposition to generate meaning in their work […] Vittoria Di Stefano presents a series of sculptures made from metal, wax and plastic. These pieces have some dialog with Martin’s in the language of post-minimalism. The soft and pliable components droop with their own weight, or glisten with their moistness. The real joy of Di Stefano’s works is in the arrangement of small details. The eccentric placement of brackets holding a component to the wall, or the arrangement of a hook apparatus on the ceiling make the works interact with the space in which they are installed and bring the whole of the gallery space into focus. Other details are less functional, but no less pleasing. Metal protrusions from a rod might be the remnant of some previous industrial life for the components used in the sculptures’ constructions or might be flourishes made by the artist. The works operate through juxtaposing materials; contrasts of texture and form as hard rods pass through soft masses. The combination of materials and forms suggest strange devices, while the colour palette nods to modernist design.” Excerpt from exhibition review in The Article by Sam Leach. https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1405943096321-Q5ZUIZ1CLRBTKVU15SE0/IMG_0555.JPG Work - Imagined Archaeology 2014 Materials: plaster, copper, brass, glass, silver, semi-precious stones, wax https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1527748891811-P8S1DZT2VI3D83JXSONE/Vittoria+Di+Stefano+-+Deep+Time+Receiver+-+Bus+Projects-034.jpg Work - Soap, lipstick, crystals, glass, concrete, wax, rare earth magnets, iron filings, aluminium waste, steel, plaster, silk fibre, salon wax, audio recording. Bus Projects, May 2018 “Proposed was a model for maps in real-time and real-space: non-stop geographies. Growth machines, electric fields. Machine visions underpinning fenestration patterns. An architecture of maps. It never had legs. Maps that monitor, that manifest growth and decay. Growth as decay. Those few cities left could seem like derelict circuit boards, pulled from machines, ejected during some event or another, with their host discarded and these few components and connections then left to live on in new and unintended circumstances. Future upgrades functioned better as future ruins. And with all power shut down, no incidental heat resulted to drive away moisture. Disassembled, deconstructed circuitry and crystal defects. Where there was moisture and voltage around, inevitable contaminants conjured a battery. Dissimilar metals in the company of electrolytes formed them. Currents leaked causing corrosion and failure. Inductive noise coupling was never far behind. We were wrong however to think things had stopped. We simply stopped seeing it. Components still insulated, propagated, replicated; substrates as semiconductors or insulators. Dendrites meant corrosion. Dust, rust, fog, flood. The airflow soon clogged and the machine overheated at power-up. The voltage buckles and hisses after the event has long gone, committed to re-connecting components, desperate to make a whole again. The imperative is always to remake the machine or make a new machine. We stop and there is no panic. And then we look again with the thing as it unfolds in the circumstances of the world, no longer looking behind it for originating intentions. Haunted circuits, accidental batteries, dislocated like ruins or robot body parts: resistors, transmitters, potentiometers, inductors, oscillators. Febrile with fevered electricity. Ghosts of things and the persistence of ideas. Entropic not stopped. “ Dr. Julian Harris, April 2018 Photography by Christo Crocker https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602721367932-V78JBBYDJ6OJYK2MM3CW/Benalla+Art+Gallery+-+Dream+Machine43341.jpg Work - Dream Machine Benalla 2017 (Copy) https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602821101261-EBF7TY9X52YK8DQGEIO9/VittoriaDiStefano_untitled_023_20200212_highres.jpg Work https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602821145565-QV351K15KMKV66WT6GIH/_W8A0135+flattened.jpg Work https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602837848462-40NHQK6YQS48SP7IJZBI/Vittoria+Di+Stefano-86.jpg Work https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602837955831-LV94S73LOGBQWATGCMOG/IMG_9535.jpg Work https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602838539419-IABFWMUZ3SX4N2QMQ1R6/IMG_2753.jpg Work https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602839245800-K2S79CWZM7ORNH7CZCGT/UNADJUSTEDNONRAW_thumb_1060.jpg Work https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602839437845-1U7RF16B82ED0MMCTQ4K/IMG_1010.jpg Work https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1616727756024-BBO1FDOV3JB39EW8ELNK/Future_Inheritance_VittoriaDiStefano_1x1.jpg Work - The Birds, 2020-21, Glass canisters, crystals, air-dry clay, soap. Photo: Lillie Thompson This work was produced for FUTURE INHERITANCE: 20 Speculative Objects for a Time to Come, curated by Marsha Golemac as part of Melbourne Design Week. FUTURE INHERITANCE showcased the work of twenty multi-disciplinary artists and designers, invited to consider how, and why, objects carry meaning and, in doing so, create one such item to leave behind for the next generation.

 The exhibition explored notions of connection through the power and significance of objects, and the stories they carry, from one generation to the next. If we were to leave an object behind for a loved 
one – what would it look like and what is the significance of that object; emotional, historical, cultural or otherwise? This work - The Birds - references a pair of ornaments that were passed on to me after my grandmother died. Carved from the deer-horn of her native Poland, they depict a pair of birds in flight. These inherited artefacts took on a new resonance for me over the Melbourne Covid-19 lockdown of 2020, as I grappled with what felt like a dissolution of opposites: freedom and containment, intimacy and solitude, movement and stasis. During this time, the domestic space became the locus for all activity, as time morphed and crystalised. The work made for this exhibition reflects on these conditions and serves as a relic and votive offering to a confounding time. https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1636508782444-6PN6RF4OI570W7SZUEY8/096A9324.jpg Work - Soap, soap flakes, bikini wax, monoammonium phosphate crystals, IKEA tables, mirrors, tiles, ceramic toilet pans, brass, aluminium This exhibition was the culmination of a five year PhD project entitled Inhabiting Thresholds: Encounters in liminality through material sculptural practice. Exhibited at RMIT Site Eight Gallery, Melbourne. All photos: Michael Quinlan Abstract: This practice-led research project investigates notions of liminality within the context of a studio-based sculptural practice predicated on material research and investigation. The project explores how the liminal can function in the production of and encounter with sculptural objects to offer new knowledge about gendered material domains. For this research project I develop and produce a series of material experiments, sculptural objects and site-specific installations through the investigation of a critical palette of materials. Alongside more traditional sculptural materials such as plaster, metals and fibres, I employ gendered materials associated with the intimate body, sourced from personal and found contexts and chosen for their cultural inferences as well as for their mutable material properties, ranging across soap, salon waxes and lipstick, crystals, filings, amalgamates, fasteners and fittings. Studio and installation processes that embody the indeterminate and the contingent are employed with an emphasis on material agency as the generator of process and outcome. The research is undertaken through studio-based activities in relation to specific modes of public encounter and exhibition. I consider how studio actions and installation practices can disassemble, reconfigure and re-inscribe the received meanings and cultural contexts of materials and forms, engaging the viewer through a liminal experience where perceptions and meaning may be disrupted and transformed. This investigation into liminal processes in sculpture provides insights into how experiences generated through art practice can produce new knowledge about everyday materiality, disruption of received cultural meaning, and critical engagement with political and cultural significances of gendered material domains. Inhabiting Thresholds is situated within a context of historical and contemporary thought around liminality and materiality as well as dialogue around the meaning in materials and studio processes, and the encounter with the art object; from Victor Turner’s (1990) characterisation of the liminal as the production of fructile chaos and transitive space to Arpad Szakolczai’s (2009) depiction of an embodied, transformative experience. Inhabiting Thresholds draws on post-minimalist and contemporary sculpture, building on key works by artists such as Eva Hesse, Janine Antoni, Rachel Lachowicz, Karla Black and Mona Hatoum. The project researches the potentialities and capacities of the liminal within sculptural practice and the relationships between liminality, materiality and the encounter. https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1690087754858-S3HO5670KZJC42BKPHXI/1165228C-D972-4409-A5E0-62DAD87FE771-2.jpg Work - The Dusking Room - Blindside July 2023. Reclaimed furniture and homewares, handmade felt, borax crystals, resin, silk moth cocoons, petroleum jelly, epoxy clay, flax fibre, brass. The Dusking Room posits the domestic space as an enigmatic site of contradiction, in which multiplicities of realities coalesce to produce liminal states of flux and ambiguity. The installation takes the form of a fragmented interior, in which elements of the familiar and the unfamiliar engage in a shifting dialogue. Drawing on the legacy of artists such as Louise Bourgeois, Alina Szapocznikow, Meret Oppenheim and Dorothea Tanning, the artist examines the complex conditions of the domestic space and its relationship to the body and memory. Symbols of nostalgia collide with formless matter to propose a reading of the domestic space as uncanny and unstable. This work considers the implications of our intimate spaces as poetic, precarious and fluid containers of narrative and identity. https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1646180196606-8SCJQTLRR0SZAS2SXU3R/22-2_Gertrude-Preston_27.jpg Work https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1717710643083-B44ZVQGJ87RB3ED4K2RV/Vittoria-Di-Stefano-LINDEN--20240531_DSC0616-edit.jpg Work - Pears on a Willow - Linden New Art 2024. Reclaimed furniture and homewares, handmade felt, plaster, wax, borax crystals, beeswax, resin, bronze, fur, trimmings. Pears on a Willow is a site-specific sculptural installation for Linden New Art that explores the poetics of domestic spaces and their embedded histories. This work results from research into two historical narratives: that of the Linden site itself: a family home originally built for Jewish immigrant Moritz Michaelis in the nineteenth century; and the journey of the artist’s own Polish grandparents, who emigrated to Australia after the Second World War. While these two histories differ in circumstance and timeframe, their stories intertwine and overlap in their discussion of trauma, perseverance, survival and love. Both are also characterised by gaps in story; many details have been lost through the passing of time, resulting in fissures in narrative and fragmented details. Drawing on the sculptural legacy of artists such as Alina Szapocznikow, Dorothea Tanning and Louise Bourgeois, the various elements in this installation reflect the uncanny nature of this incomplete state, but they also aspire to healing, preservation and acceptance. The title of the work echoes that of the Polish expression ‘pears on a willow’, which refers to something desirable but impossible to obtain, reflecting the artist’s elusive desire to join the dots. This work explores the complexity of personal histories, the unreliable nature of memory, and the poetics of the in-between states that characterise our domestic spaces and lived realities. This exhibition was the culmination of research taken as part of the Linden New Art JUNCTURE art prize, a major art prize for Australian mid-career contemporary artists. Two artists are each awarded $20,000 to support their practice, and twelve months in which to develop new work to be presented as a solo exhibition at Linden 2024. The inaugural winners of the prize were Vittoria Di Stefano and Shivanjani Lal. All photos: Simon Strong https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1753247925891-7SV0JZHNGT4A5WAQ1GJT/IMG_1369.jpg Work https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1400035597830-J3QRN0C9HKTEHRP86VZN/PD1.jpg Work https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1400035899154-M8A2JAH6NFYY5L7TR08R/UPIC1.jpg Work https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1400036666357-YD1YF9U7BLLWSO4BSDNP/PO1.jpg Work https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1400036895657-4J49JIJ9WSOXHS3R8UIS/BP1.jpg Work https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1400036203420-Q8VPLLNR0NT28QXUMQ43/EC1.jpg Work https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1400037058845-J5T75CD96LST2O89YDEG/FM1.jpg Work https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1400035069412-ZJ699O0M5ZZ1I1H24PGH/ISS1.jpg Work https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1405942349803-EBMU36LA6UVUPDQGMA4W/IMG_4421.JPG Work https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1413859874293-S65SF4LZ0RMMBC1PTF22/IMG_5054.JPG Work https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1430871625203-XMWZ6UJPTAU0PQQ1TUOH/IMG_6308.JPG Work http://www.vittoriadistefano.net/home daily 0.75 2020-10-15 https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602720383446-C250UTDHLNLERTPQIOEN/VittoriaDiStefano_untitled_5_20191024_highres.jpg Home - Soft Fascinations 2019 https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602720383446-C250UTDHLNLERTPQIOEN/VittoriaDiStefano_untitled_5_20191024_highres.jpg Home - Soft Fascinations 2019 https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602721484642-ZUQIYJE02HHYNUSQ21J7/Vittoria+Di+Stefano+-+Deep+Time+Receiver+-+Bus+Projects-034.jpg Home - Deep Time Receiver 2018 https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602721844762-NASAHS2PDYBDBW3AK03H/IMG_1011.jpg Home - Alien Artefacts 2015 https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602720237975-G7WNQV0TPVKWR5EG9M50/image-asset.jpeg Home - Soft Fascinations 2019 https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602720443104-Y7LU84VEWBMFALMFIAHY/c3Jan-68.jpg Home - Polyvalance Suite, Invisible Bridge 2019 https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602721099020-IFVLIFW0N91DQD2GX76I/_W8A0150.jpg Home - House of Lilith 2017 https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602722007023-YDPUWRW2T9VDI0OSWX6U/Prima+Materia_Artwork-054.jpg Home - The Bride's Room 2019 https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602721575920-KZ5SGRTFX5V51WBL1QCS/Vittoria+Di+Stefano-10.jpg Home - Becoming Material 2016 https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602720883114-G61017WL5QTHKYLF6H5D/c3_Aug-72.jpg Home - Light Bodies 2018 https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602721035804-SXYS6SQP4IQSSMWH8POG/17-5_HTHG_Materiality_23+%281%29.jpg Home - Materiality 2017 https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602721367932-V78JBBYDJ6OJYK2MM3CW/Benalla+Art+Gallery+-+Dream+Machine43341.jpg Home - Dream Machine Benalla 2017 https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602722237772-R8NWZ94S555HAYHHLUTH/c3Jan-71.jpg Home - Polyvalance Suite 2019 https://images.squarespace-cdn.com/content/v1/5372d383e4b08004714c1255/1602723650211-EYS1B19JH2TLB48TU7QX/IMG_0511.jpg Home - 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