Material: marble.
Artwork dimensions : Height/Width/Depth : 40 x 65 x 13 cm.
Year of creation: © 2024
This is a unique work
Technique: direct carving with traditional tools.
The message of this sculpture describes the new language of the human body in relation to the dynamism propagated and induced by digital technology that has shaped its behavior.
The sculpture reflects the behavioral change from ancient times, through the leitmotif of the lyre that seems abandoned, to the contemporary through the mobile phone as a trigger for the movement generated by the virtual environment.
The dynamization of the facial physiognomy through successive positions, like a film strip, emphasizes the sensation of movement, in full agreement with that of the body and the garment, giving an impression of animation, movement, change or action with the help of specific elements of expression.
In the contemporary era, the way we see and perceive art and the things around us has changed, almost exclusively, through the impact on us of devices connected to the internet.
The internet, through its universal status, allows many millions of people to judge sculptures and paintings without the mediation of a single cultural hierarchy.
Thousands of kilometers of distance melt away and the window to another world opens wide.
The reality is that in the last hundred years, humanity has made a giant technological leap, experiencing unprecedented innovations and changes.
On the other hand, this new virtual way of looking has opened people's eager appetite for the sensational, so that contemplation, which is the gold mine of culture, seems to be lost.
The dilemma revolves around the question: evolution or involution?
Material: mixed media.
Artwork dimensions : Height/Width/Depth : 60 x 60 x 25 cm.
Year of creation: © 2024
This is a unique work
Technique: direct carving with traditional tools.
Understanding the differences between generations is essential to build effective communication bridges between parents and children and to facilitate adaptation to the constant changes in society.
Each generation comes with its unique challenges and characteristics, but also with valuable lessons that can contribute to improving intergenerational relations.
The emotion of grandparents meeting grandchildren is a deep and joyful one, often marked by affection, anticipation and reconnection.
It is a unique combination of happiness, memories and hopes, where each generation brings something special to the lives of the other.
The emotion of grandparents meeting grandchildren is, therefore, a complex mixture of positive feelings, which contribute to strengthening intergenerational relations and creating a harmonious family atmosphere.
Material: marble.
Artwork dimensions : Height/Width/Depth : 52 x 34 x 37 cm. Weight 39 kg.
Year of creation: © 2025
This is a unique work
Technique: direct carving with traditional tools.
In a minimalist, but deeply sensual sculptural language, “The Contemporary Man” renders the human figure trapped in the modern everyday. The stylized figure, devoid of facial features, is seated in an armchair that becomes a symbol of passivity and daily routine.
In his left hand, the character holds a smartphone, and in his right – a remote control. The objects are not just accessories, but extensions of contemporary man, symbolizing addiction to technology, escape from reality and passive consumption of information and entertainment.
The lack of facial expression suggests the alienation of identity in an increasingly digitalized and standardized world. The work invites reflections on how we spend our time, on our human connections and on the loss of spontaneity in an age of screens.
This sculpture thus becomes a mirror of modern society – comfortable but empty, connected but alone.
Material: marble.
Artwork dimensions : Height/Width/Depth : 12 x 29 x 21 cm. Weight 5 kg.
Year of creation: © 2025
This is a unique work
Technique: marble sculpture, hand-colored.
With subtle humor and a special mastery in the processing of marble, the work “The Newspaper – a Memory” invites us on a nostalgic foray into the everyday universe of a bygone era. The sculpture faithfully reproduces the shape of a crumpled newspaper, which has become an object of memory, story and subtle irony.
The titles “Sport”, “Arts – Vasile Ştefănoiu Sculptor”, and the western-type column – “Dead or Alive - $ 1,000,000 Cash” transport us to an imaginary world, but with anchors in cultural and media reality. By juxtaposing these themes, the artist creates a composition that combines art, humor and self-irony.
The material – white marble – contrasts strongly with the ephemerality of the newsprint, amplifying the message: what is fleeting can become eternal in the hands of the artist.
This work is not just a sculpture, but a reflection on memory, identity and the permanence of personal memories in visual culture.
Material: walnut.
Artwork dimensions : Height/Width/Depth : 101 x 105 x 41 cm.
Year of creation: © 2024
This is a unique work
Technique: walnut wood sculpture.
This work explores the myth of Icarus from a symbolic and personal perspective.
His wings, marked by gaps, suggest traces of melting wax – the consequence of approaching the sun and ignoring the advice of his father, Daedalus. They are the sign of a dream taken too far, of courage, but also of human fragility.
The gaps in the body form the symbol of infinity vertically – a representation of the desire to reach something higher than our condition. It is not just physical flight, but an inner aspiration: the freedom to dream, even when the world seems to fall apart.
This sculpture is not only about falling, but also about the courage to try.
Material: marble.
Artwork dimensions : Height/Width/Depth : 56 x 72 x 24 cm.
Year of creation: © 2024
This is a unique work
Technique: direct carving with traditional tools.
In a world where digital connection has become a reflex, the sculpture “Digital Loneliness” sharply captures the contemporary paradox: virtual proximity often leads to real isolation.
Four human silhouettes, elongated, devoid of features and individual identity, are caught in an almost identical posture – head bowed. Eyes fixed on screens, hands clasped around a phone. Although apparently aligned together, each figure is enclosed in its bubble of digital silence.
The wood, a warm and living material, contrasts with the cold and repetitive gesture of the characters, amplifying the emotional impact of the work.
The trunks seem to be in a slow, almost amorphous flow – a visual metaphor for the uniformity and alienation of the soul.
This sculpture thus becomes a mirror of a society in which our attention moves increasingly outside the real world, while human ties become thinner, fade away.
Material: marble.
Artwork dimensions : Height/Width/Depth : 40 x 65 x 13 cm. Weight 25 kg.
Year of creation: © 2024
This is a unique work
Technique: direct carving with traditional tools.
Motto:
“Without dreams, what a misty place life is”, Giuseppe Ungaretti (1888 – 1970).
In this sculpture, the artist, in his dream, presents a series of symbols and images from his work.
This sculpture is a work with a strong symbolic character. The artist used stylized forms and abstract motifs to convey the idea that the dream is a gateway to key elements that can be interpreted.
The work depicts a dream journey, in which the dreamer's mind travels through symbols, memories, inspiration and creation, until it reaches infinity – which can be interpreted as the free image of human imagination.
The figure dominating the lower right represents the beginning of the dream – a man at rest, who enters the dream world.
• The subtle smile expresses inner peace.
• The symbol of infinity (in the shape of a horizontal 8): It appears several times, suggesting the continuity of ideas, dreams and imagination that has no limits.
• The wavy lines: represent waves of thoughts, dreams or time – a free flow between reality and the subconscious.
• Human figures in different poses:
- Some seem to be in the process of creation or prayer.
- Others are in groups, suggesting community, perhaps learning or the transmission of knowledge through dreams.
- Oval or circular shapes symbolize openings to other worlds or dimensions of consciousness.
“Digital Solitude” (left - middle), adds a critical and deeply contemporary dimension to the sculpture, and the fact that it refers to “The Parable of the Blind” by Pieter Bruegel the Elder creates a bridge between the classic and the current, between the spiritual blindness of the 16th century and the “Digital Blindness” of the 21st century.
Bruegel painted six blind men holding hands, walking towards the abyss – an allegory of spiritual wandering. There is no leader – each one follows the one in front.
Their “blindness” is not physical, but internal – a blindness self-imposed through the phone screen: the last one falls, but still looks down, “inside”, not “outside”.
This scene depicts a procession of applied figures, all focused on phones. The inclined, almost hunched bodies symbolize not only physical dependence, but also psychological suppleness in the face of technology. It is a loss of verticality, of human attractiveness.
The uniformity of the figures – suggests a collective mass devoid of individuality, all absorbed in the same digital mirage. The lack of faces or details accentuates the alienation.
The abyss – the figure that has fallen but continues to look at the phone is a powerful detail. It is, perhaps, the harshest criticism: even in the fall, modern man remains a prisoner of digital illusions. Not even suffering can break him out of his trance.
This section brings a strongly reflective contemporary dimension. It is a mirror in which the modern viewer can recognize himself – or be frightened. It functions as a sculpted alarm signal, a call to inner awakening.
In a sculpture that speaks of dreams, infinity, imagination, this area acts as a counterpoint: a warning about the danger of confusing dreaming with delusion. It's the difference between: creative dreaming, which leads to infinity and revelation, and digital dreaming, which leads to abyss and loneliness.
