Artists’ Syllabus: Vittoria Di Stefano
Blindside Gallery, Level 7, 37 Swanston St
Join Melbourne Art Library, Blindside and Vittoria Di Stefano for a discussion and collaboration with the artist inspired by a reading by Jane Bennett.
In this event, participants use the artist’s current exhibition at Blindside as a starting point to create an expanded sculptural assemblage using objects brought from home and inspired by a reading from Vibrant Matter: A political ecology of things by Jane Bennett.
The text Vittoria has chosen to share is Vibrant Matter: A political ecology of things by Jane Bennett: Chapter 1: ‘The Force of Things’ (copy will be emailed to participants ahead of the event).
Support by City of Melbourne Arts Grants.
Image: Vittoria Di Stefano, Studio tests, 2023.
Vittoria Di Stefano’s sculptural practice employs a methodology of generative material experimentation to explore themes around liminality, transformation and desire, with a particular emphasis on domestic space and intimate materiality.
Through the employment of a diverse material palette, and often using modernist art, design or film as points of departure, the artist employs a feminist critique to investigate and challenge historical power structures and notions of value.
The psychological and affective impacts of the material encounter are explored through a range of experiments in a variety of display contexts, offering new ways of contemplating and experiencing material realities.
She has taken part in solo and group exhibitions nationally and lectures in Art History & Theory and Sculptural Practice at RMIT University, Melbourne.
About the exhibition
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.