Una fotografia verticale che mostra tre sculture in legno contemporanee – una forma conica rigata, un grande arco liscio e un vaso alto a due colli – disposte su un antico tavolo di pietra. Sullo sfondo, un paesaggio toscano con un casale, cipressi e vigneti illuminati dalla luce calda del tramonto.

The Voice of Matter

An aesthetic of authenticity carved in time and wood.

Showing 7 of 7 pieces

Stefano Puzzuoli: Wood, Memory, Metamorphosis

Stefano Puzzuoli is an Italian sculptor who transforms fragments of forgotten nature into objects imbued with poetry and memory. His wooden vases, crafted from felled trunks, prunings, or wood destined for the fire, are living works: small three-dimensional haikus that speak of time, transformation, and imperfect beauty. His creative process begins in the woods of Tuscany, where he personally collects each piece, guided by instinct and observation.

Each trunk, marked by fungi, moss, or insects, is chosen for its invisible history. The artist doesn't impose forms, but listens to them emerge: grain, cracks, and organic traces become protagonists. Her vases are not simply functional objects, but containers of experiences that highlight imperfections as precious signs. As her manifesto states: "My work is listening to the wood. I don't transform it: I give it a voice."

ritratto dell'asrtista stfano puzzuoli in arte estebanland che posa con una sua scultura in legno della collezione realizzata per vicode
the artist

Stefano Puzzuoli

Wood, memory, metamorphosis

Stefano Puzzuoli is an Italian sculptor who transforms fragments of forgotten nature into objects imbued with poetry and memory. His wooden vases, crafted from felled tree trunks, prunings, or wood destined for the fire, are living works: small three-dimensional haikus that speak of time, transformation, and imperfect beauty.

Sculptures born from the forest

His creative process begins in the Tuscan woods, where he personally collects each piece, guided by instinct and observation. Each trunk, marked by fungi, moss, or insects, is chosen for its invisible history. The artist doesn't impose forms, but listens to them emerge: veins, cracks, and organic traces become the protagonists.

An aesthetics of authenticity

The vases are not functional objects, but containers of experiences. Solid or fractured, smooth or furrowed by deep cracks, they reveal a unique relationship between matter and gesture, interior and exterior, life and memory. Imperfections are not erased, but rather exalted as precious signs of time.

Artist's Manifesto

“My job is to listen to the wood. I don't transform it: I give it a voice.”

THE CREATIVE PROCESS

Estebanland seduto nel suo laboratorio all'aperto, circondato da sculture in legno in lavorazione.

THE GENESIS

The moment when the form frees itself from the bark to come to light.

Dettaglio delle mani di Estebanland che utilizzano uno scalpello su un blocco di legno.

THE SUBTRACTION

The art of removing the superfluous to get to the heart of the matter.

Tavolo da lavoro di Estebanland con sculture in legno grezzo e attrezzi da intaglio sparsi.

THE GUARDIANS

Silent, ancient figures that seem to observe those who look at them.

Dettaglio ravvicinato di una scultura in legno di Estebanland, che evidenzia la texture e le venature del materiale.

THE MEMORY

Every grain tells a story, every imperfection is a trace of time.