STEFANO

Disconnected. The plane landed, and suddenly my world came down crashing. Everything stopped. Time no longer made sense. It felt calm, peaceful. No pressure, no questions. I was tired, exhausted to emptiness. Yet again, feeling nothing. Disconnected. There was nothing waiting for me behind those doors. Just a big, empty, cold room. I lay down on the floor, motionless for hours. What was even the point? Pushing myself to the limit, trying to fill the void filling my life. Killing myself to fill (feel) those empty pixels, while burning down everything else. Disconnected. Disconnected from everyone, disconnected from myself. Disconnected from my heart, disconnected from my feelings. Disconnected from reality, I abandoned myself. I let go and I let in. And the sadness finally permeated that void. Disconnected. 2023 has been a journey to learn how to disconnect and reconnect. In a journey of healing and patience, learning how to respect myself and my practice. Like learning how to walk for the first time, I learned how to feel. And those feelings finally filled that void. Disconnected. Like technology, I needed a hard reboot. To be forced to face the many things I escaped from all my life. To fall in love again with my practice, this time in a healthy and conscious way. To accept that it's ok to be disconnected if you remain connected to what really matters.

Disconnected (2024) returns to the fragmentation themes that first emerged in Frammenti (2021), but now explores them through the lens of personal crisis and transformation. Where the 2021 collection examined memory as scattered fragments seeking reunion, this work confronts the more difficult reality of feeling disconnected from oneself and the world. Stefano Contiero creates a visual language for emotional numbness, that particular emptiness that follows exhaustion, disappointment, or the overwhelming pressure to perform.

These fragmented compositions reflect this internal state through scattered geometric forms that appear to have lost their organizing principles, echoing psychological theories of dissociation where aspects of identity become temporarily fragmented as protective mechanisms. Sharp planes drift across grainy textured fields, their vibrant colors creating paradoxical energy within isolation. These fragments connect to Kandinsky’s pioneering exploration of inner spiritual states through abstract geometry, while also recalling the postwar abstraction of Art Informel, where artists like Wols confronted dislocation through scattered, unruly forms. Unlike the systematic approach of Frammenti (2021), these shapes drift without clear organizing rules, finding themselves adrift in digital space like aspects of self seeking reconnection after trauma.

Created in collaboration with Unit London in January 2024, the collection emerges from a period of personal reckoning that the artist describes as needing “a hard reboot.” The scattered forms become metaphors for the pieces of self that must be gathered, examined, and consciously reconnected. Each of the ten outputs presents a different configuration of disconnection (some more chaotic, others finding tentative patterns), all suggesting that fragmentation can be a necessary step toward authentic wholeness.

What makes Disconnected particularly powerful is its honest confrontation with creative and personal struggle. Where Tensione (2020) explored suffering as catalyst for transformation, this work confronts the more complex reality of emotional numbness and the need for conscious reconnection. The collection positions crisis not as dramatic breakthrough but as necessary pause, acknowledging that sometimes we must become strangers to ourselves before we can truly come home.