Vissi d'Arte: Artistic Humor | Stephanie Robison Experiments with the Sculpture of Opposites
Stephanie Robison was recently interviewed by Sabino Maria Frassà of Vissi d'Arte. Robison describes her use of seemingly opposing materials to create her signature forms and the evolution of her work over the years. The full article, published in Italian, is available through Linkiesta. A translated version of the interview is found below.
Proboscis, alabaster, wool, 8 x 5 x 4 inches
Sabino Maria Frassà: How did you decide to become a sculptor?
Stephanie Robison: Today, my family fully supports me, but that wasn’t always the case—perhaps because I don’t come from an artistic background. However, looking back, I realize that my grandmother played a fundamental role in my journey. She was an extremely creative person and deeply influenced the way I perceive the world. As a child, I spent a lot of time with her, building forts with chairs, blankets, and an old sofa bed. She was incredibly resourceful, and through play, she unknowingly taught me that spaces and objects can transform, taking on functions beyond their intended purpose. I believe this profoundly shaped my approach to materials and space.
SMF: Has the transition from Oregon to California influenced your work?
SR: This is the first time I’ve been asked this question, and I find it particularly interesting. I believe that where you live deeply influences your artistic practice. In Oregon, my work was closely tied to the surrounding environment, characterized by lush, dominant nature. After moving to California, I found inspiration in the rolling hills and the extraordinary variety of vegetation, which led to an evolution in my artistic approach—my work became simplified in some aspects and more complex in others. However, the most significant change was the climate. The milder weather allowed me to sculpt outdoors year-round, giving me more time to work with stone and refine my technique and skills. I personally create most of my pieces because my creative process is fluid and involves numerous changes along the way, and this continuity, made possible by the climate, has had a profound impact on my work.
Call and Response, alabaster, wool, 14 x 12 x 5 inches
SMF: What was the turning point when you realized your "vissi d’arte"?
SR: There is one early piece that marked a personal turning point for me. It was 2011, and I believe it was only the fifth or sixth stone sculpture I had ever created. I carved a cloud-like form out of yellow marble—an incredibly sensual material but with an almost unsettling quality. I was fascinated by the fact that the same material could evoke both beauty and a subtle sense of unease within a single piece. I then carved out a recessed section in the center and upholstered it in blue vinyl. That was the moment I felt I had created something powerful and authentic. For the first time, my work felt truly original, not derivative. Even today, I look at that piece with admiration, particularly for the way I managed to merge those two materials. It gave me the confidence to keep going, even though it took years before I felt I had reached that same level of artistic "magic" again.
SMF: What draws you so much to stone, which is a constant in your work?
SR: When I first started working with stone, I was fascinated by its hardness, the precision with which it fractures, and its ability to yield and respond to the chisel. At the beginning, I was determined to make the material reflect exactly the image I had in mind. Naturally, this was frustrating due to my lack of experience—some pieces took me over ten years before I developed the skills necessary to fully realize them. However, once I reached that technical level, I realized that the true pleasure of working with stone lies in the process itself. I discovered that I felt much more fulfilled when I allowed myself to experiment and let the form emerge gradually. Opening myself up to this possibility made my work more dynamic and gave me a constant creative drive.
One Circle Around the Sun, reclaimed marble, wool, 8 x 12 x 8 inches
SMF: Then came the other materials…
SR: I love working with materials in all their forms, and I love learning new things—which is also why I teach. Experimenting with different materials keeps my curiosity alive. It was fascinating to discover that needle felting wool is a reductive process, just like carving stone. At first, wool is soft and voluminous, but as you work with the needle, the fibers compact and interlock, dramatically reducing in size.
SMF: Why do you choose to combine such different materials?
SR: I am drawn to art and design that challenge conventional ways of seeing. When I experiment with materials, my goal is to arrive at something that surprises and excites me. I find this tension especially in the juxtaposition of hard and soft elements. This is, of course, also the biggest challenge. Another crucial aspect of my process is allowing space for the materials to interact. Developing them simultaneously enables them to merge in a way that feels organic and cohesive.
Head in the Clouds, reclaimed marble, wool, 10 x 9 x 3 inches
SMF: Your art is deeply process-driven—does it carry a specific message, or is it more of an introspective act?
SR: Both aspects converge in my artistic practice. The urge to express myself through materials and the excitement of discovery play a dominant role. But it’s also true that whatever happens in my life inevitably finds its way into my work, through my manipulation of materials and my response to them. I allow the materials to guide me, shaping each form through a process of action and reaction. The physicality of the work and the labor-intensive nature of these materials demand deep focus, turning the process into a kind of meditation on what is happening both around me and within me.
SMF: You’ve often spoken about "muscle memory" and how sculpture engages the body. Can you elaborate on this concept?
SR: Sculpture is a fascinating art form because it occupies space, and the body engages with it physically, even without direct contact. Smaller objects can evoke feelings of protection or dominance, while life-sized or larger sculptures trigger entirely different responses. I find this incredibly compelling and powerful as a tool for communication and audience engagement. Muscle memory comes from the physical act of creation—when I am immersed in the process and in its flow, I feel a strong connection with my tools and the surface of the form I am shaping.
Soft Horizons, reclaimed marble, wool, 10 x 8.5 x 4 inches
SMF: Humor is a clear component of your work. Is this something you plan from the beginning, or does it emerge spontaneously during the creative process?
SR: I enjoy laughing and finding humor in things, and this inevitably comes through in my work. I’d like to say that the humor emerges spontaneously, but in reality, it’s probably a reflection of how I interact with the world. I find it amusing and thought-provoking to juxtapose materials with vastly different connotations—marble, associated with elegance, seriousness, rigidity, and permanence, with something soft, undefined, playful, or even naive. These contrasts allow me to subvert expectations and give materials a fresh perspective, often infused with a touch of irony.