![](https://images.prismic.io/sayhito/fbb2328c-961b-474a-a100-0df2258769cc_cover_Becoming_Stone_Stef_Fusani_Ph_Ana_Larrazabal_3.webp?auto=compress,format)
Stef Fusani
Madrid-based artist, Stef Fusani, addresses the body's materiality as a potential object untethered from its identity.
![](https://images.prismic.io/sayhito/14e5eca2-03e6-4291-991c-e161584ab960_sayhito_Stef_Fusani_Portrait.webp?auto=compress,format)
Stef Fusani is an artist and designer based in Madrid.
In his work, he addresses the materiality of the body as a potential object untethered from its identity. Through an unstructured and fluid approach, he works by investigating the relationship that situates the body in a specific place at a specific time, mixing personal experiences with mythology, from invented memories to pop culture.
He is the founder of STANDARD404, an experimental design studio, co-founder of Malerbe, a material culture research duo and co-founder of Cinema Parentesi, a collective that works on curating ephemeral cinema festivals of video essays related to architecture and design.
![Becoming Stone by Stef Fusani Photo by Ana Larrazabal](https://images.prismic.io/sayhito/ecd1d043-d91d-46f4-8c83-1580438f55c4_Becoming_Stone_Stef_Fusani_Couple_Photo_Ana_Larrazabal.webp?auto=compress,format)
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BECOMING STONE
And thus, staring at the eyes of a Gorgon: bodies without organs, irreverent, amorphous, abstract and figurative at the same time. The whole abstracts and loses us; we recognise ourselves through the details.
They are unwanted, multiple and repeated bodies.
The deformation becomes a form of purity; the composition is broken and forced into a new state, obtaining a new uncomfortable harmony.
This new figure obeys only the possibilities of the material itself. It does not represent the search for an ideal but rather a possibility. It escapes from the standard through the standard itself.
It's the statue of myself and the annihilation of the self as an identity at the same time, and I arrived at this point; I become the gorgon and the statue of myself at the same time.
![VELVET MON AMOUR, a velvet object by Stef Fusani | Photo by Ana Larrazabal](https://images.prismic.io/sayhito/f69b0d1a-64b2-4571-9d14-eabcba1541bc_sayhito_Standard404_Velvet_Mon_Amour_Yellow_Standard404_Photo+by+Ana+Larrazabal+-+3.jpg?auto=compress,format)
![](https://images.prismic.io/sayhito/02333f0f-2fa1-4bbd-ab61-f7d8068a9460_sayhito_Standard404_Velvet_Mon_Amour_Yellow_Standard404_Photo+by+Ana+Larrazabal+-+4.jpg?auto=compress,format)
VELVET MON AMOUR
Velvet Mon Amour is a bended PVC pipe covered by dusted velvet.
Velvet Mon Amour is a poor material covered by an old-fashioned luxurious way of life.
Velvet Mon Amour is an eighties fluffy skin in marriage with an essential structure.
Velvet Mon Amour is a handmade industrial material object with a velvety surface.
Velvet Mon Amour is a velvety brush-stroke epidermis with a plastic soul.
Velvet Mon Amour is a PVC pipe covered by velvet.
Velvet Mon Amour is just an armchair.
The piazza has always played a central role in the functioning of a city, acting as a meeting point for its inhabitants. An open, public and inclusive space, a place for circulating information, adorned with symbolic elements, and a venue for social, religious or cultural activities.
This condition is the core of the whole project: the gallery becomes a piazza for the last meeting under the Camp wings. Camp se acaba, orgía en mi casa is a tribute; it becomes an oneiric scenography, in which every element is directly linked to references that gravitate around the gallery itself and Bea.