Stefanelli is a she/they American-born contemporary artist
practicing in NYC and Easton, Pennsylvania.
Series Statement: Crowd Pleaser Series
Consider your relationship with the individual nearest to you: a stranger, a friend, or simply someone nearby through physical proximity.
Consider this person’s significance to you.
By extracting a tiny piece of digital information from the image of a random person, a tiny pixel of color now exposes and identifies the significance of this person from within.
The color happens again and again until each individual is no longer alone.
These lines of color draw imaginary paths of alignments between previously anonymous strangers. The paths of color illustrate a committed yet impersonal relationship between them.
Privacy and anonymity no longer exists.
We are in the loneliness of the post-millennial world.
Living side by side, independently together.
Series Statement: Forager
Series Statement: Forager 2025
Forager explores the act of visual acknowledgment—capturing an object as it exists in a specific place, at a specific moment in time.
Each piece is titled as a form of precise identification. For example, “18042” refers to the postal code where the object was “foraged,” while “1/2017” marks the month and year of its discovery. These titles serve as coordinates, anchoring each object within a tightly defined moment and location.
Traditionally, foraging involves gathering sustenance from the natural world. In this series, foraging becomes a conceptual tool—an act of seeking, observing, and documenting. Rather than collecting for use, the goal is to locate and acknowledge. Each object is recorded in its unique context—never before, never again.
The natural world is in constant flux—shifting with the seasons, weather, climate, and time. Landscapes transform in response to both minuscule and monumental forces. Forager zooms in, reducing the vastness of the environment to a nearly pixel-sized focus, suggesting that the world turns not on sweeping gestures, but on the smallest, often unnoticed details.
Take, for example, the work titled 18042, 11/2016. It refers to Easton, Pennsylvania (postal code 18042), and to the time—November 2016—when these elements were foraged from the landscape. As I reflect on this piece in 2025, I recognize how much has changed. Nine years ago, I wasn’t thinking in digital terms; GPS coordinates weren’t even a consideration. The process was entirely grounded in physical presence, intuition, and visual memory.
Series Statement: A Season of Litanies
The dots in this series are exactly what the title implies: they are litanies, lists or prayers, multitudes of them that simply hope for the best as prayers while also acknowledging grievances as litanies do.
Their repetitive presence serves to recognize that, as a population, we touch everything in our efforts to either conquer or nourish.
We live within the natural landscape of this earth. As city dwellers we encounter these beings (trees) on our sidewalks and parks. Although they are often held captive by our cities and the landscapes that we have dominated, the trees maintain an undeniable autonomy even when stripped of their dignity.
As a population, we have touched everything.