Stef Fusani

Nel Serpente Non Esistono Limiti Di Speculazione Jesmonite, epoxi resin, water pump, PVC tubes 70 x 70 x 170 cm 📷 @anlarra

Stef Fusani is a Milan-born artist and designer whose practice moves fluidly across disciplines, from art and design to material culture and beyond. Shaped by a childhood spent building things out of nothing and a restless impulse to question the obvious, his work resists easy categorisation. Equally at home referencing Italo Calvino and noise music, brutalist sculpture and pop mythology, Fusani brings a contrarian sensibility and a transductive way of thinking to everything he makes. He left Milan the moment he could, only to find himself returning to it differently, and that tension, between belonging and escape, between refusal and curiosity, runs quietly through his work. Read interview on apparelmusic.com

GOFFAMENTE BEATI Solo exhibition at @candysnakegallery 25/06 - 05/09 📷 @frankstelitano Nuestra Señora de los Dolores 2025 Jesmonite, resin, iron, foam 45x60x150cm

GOFFAMENTE BEATI Solo exhibition at @candysnakegallery 25/06 - 05/09 📷 @frankstelitano Frammento sulle macchine 2025 Jesmonite, resin, iron, grip, wheel 20x35x40 cm

GOFFAMENTE BEATI Solo exhibition at @candysnakegallery 25/06 - 05/09 📷 @frankstelitano Each one of Fusani’s sculptures play with paradoxical cultural phenomena. For example, Dolly, named after the first cloned lamb, is a cast of what looks like a lamb hide and the artist’s own feet combined with the handles of a dolly (the cart this time). This a human/animal/machine cyborg that with Fusani’s signature dark humour wants to screech over the extractive/exploitative approaches to life (non-human and more-than-human), to its anthropocentric instrumentalization. This notion is further enhanced by the addition of handlebars to the cast, which attempts to turn it into a vehicle, but fails. Pepino 88, conversely, juxtaposes the human and the vegetal mistaking the cucumber for a flaccid penis. It dwells on an incomprehension or lack of communication between nature and human as having a castrating effect, all the while spinning around on an office chair’s wheel. Pepino is also an emblematic character of Carnival, the celebration of the reshuffling of hierarchies, of the high and low. Excerpt from the text written by Sofia Gotti @aifos_gotti Dolly 2025 Jesmonite, resin, plasterboard ceiling, iron, grip, wheels 90x90x80 cm Pepino 88 2025 Jesmonite, resin, iron, foam, wheels 35x40x105 cm

GOFFAMENTE BEATI Solo exhibition at @candysnakegallery 25/06 - 05/09 📷 @frankstelitano Stef Fusani works across sculpture, installation and film to explore how objects can be the incarnation and simultaneously the interruption and reconfiguration of a normative capitalist patriarchal system. Their background is in design, and at the core of their research are material and form. Scale, composition, repetition, rhythm, remain the cyphers of his sculptural studies. Meanwhile, materiality and matter’s behaviour and agency premise his work’s subversive potential. Questions like “what can the material yield? What information does the material carry?” lead Fusani’s questioning of the very dynamics that establish and stabilise meaning. Limbs, vegetables, miscellaneous organic materials, furniture and tools are the constituent elements of the sculptures on view in this exhibition. The works deal with the visceral: they are made with casts in jesmonite, a malleable material that gives the sense of softness or epidermal turgor; and they are covered in epoxy resin, which looks like a dense fluid or syrup that was spilled or dripped all over them. Yet the organic forms are always juxtaposed to industrial or mass produced elements – for example a wheel, handlebar or hook. This gesture, which Fusani describes as a “visual rupture,” sets out to clash with a western worldview constructed on binary thinking. In this sense the Becoming Stone series is paradigmatic in suggesting literally what new materialist thinkers would define as a process of “becoming”: something that allows for the transformation of established orders. Responding to, or outright rejecting, dichotomies, the sculptures experiment with the relationship of soft versus hard, body/machine, leisure/labour, nature/culture, and instead propose a kind of thinking that is non-linear, plural and always ambivalent, where, he explains, “the only declared objective is subversion.” Excerpt from the text written by Sofia Gotti @aifos_gotti BECOMING STONE #2 2024 Jesmonite, resin, water pump 90x94x110 cm

Happy to share some details of process behind the production of the bodies for the movie “Mamantula”, directed by Ion de Sosa @taquicardigans , art direction by Carmen Main @carmen.main , prod. Tasio @_tasio ❤️⚡️❤️⚡️❤️ With the precious help of @gas3como

Becoming Stone #3 Becoming Stone is a project that seeks for a relational approach to reality. By copying different objects and elements of material culture, a new relational and cognitive mechanism is activated with the objects. Similarly by copying body parts, which, freed from any emotional or identity value, are treated as in its physicality and materiality, and converted into objects to be copied, and with which to establish a new relationship. Once reassembled together, all these elements give rise to a new hybrid entity. Recently acquired for the permanent collection of the @museomaxxi Special thanks to: @lorenza_baroncelli @josephgrima Jesmonite, epoxi resin 130 x 110 x 85 cm 📷 @anlarra 💙

BECOMING STONE #1 & #2 2023 115x90x95cm Jesmonite, epoxi resin, water pump Presented at @alcova.milano Infinite thanks to @valentinaciuffi and @josephgrima 📸 @anlarra

BECOMING STONE 2023 115x90x95cm Jesmonite, epoxi resin, water pump Presented at @alcova.milano Infinite thanks to @valentinaciuffi and @josephgrima 📸 @anlarra

BECOMING STONE #2 2023 115x90x95cm Jesmonite, epoxi resin, water pump Presented at @alcova.milano Infinite thanks to @valentinaciuffi and @josephgrima 📸 @anlarra

BECOMING STONE 2023 110x90x85cm Jesmonite, epoxi resin, water pump Presented at @alcova.milano Infinite thanks to @valentinaciuffi and @josephgrima 📸 @anlarra