There is something magical about tiptoeing into an artist’s atelier and watching him work,even as he gives life to a new creation.
Mattia Kostner he comes from a family of sculptors, several generations who have handed down an artisan art practiced with passion and perseverance. But today Matthias is also promoter of UNIKA, the Art fair representing the best talents of Val gardena, as in his opinion, unity is strength.
Though, let’s take a step back.If it is indeed true that Ortisei and its surroundings are well known for winter sports and for the ski area that is part of Dolomiti Superki, not everyone knows that Val Gardena is a historic woodworking hotbed, appreciated throughout the world. In particular, the wooden sculpture was born in this area of Alto Adige in the 17th century as a domestic craft; initially devoted to mostly devotional purposes, it was expressed above all in sacred figures and nativity scenes, shaped with local woods such as pine. Over the decades, thanks also to flourishing trade and stylistic influences, this uncommon art has become refined, combining technical mastery and contemporary sensitivity. Today the tradition of the past lives on in works that blend classicism and modernity, preserving a unique identity that oscillates between the sacred and the profane.
“The first step is to cut the wood into blocks according to the model you want to reproduce and glue it, then you start removing material with the chisel, smaller and smaller, until you move on to working with sandpaper to make the surface smooth”. Matthias Kostner explains to us the essential steps of the art of sculpture in his atelier in Ortisei where he now gives life almost only to creations of his own invention, or commissioned by significant collectors. On the other hand, it is one of the most requested artists in Val gardena as well as President of UNIKA, the Art Fair which has already exceeded thirty editions and is held every year in September. However, it is not just an event, but a real association whose objective is to preserve and promote excellent artistic craftsmanship.
Founded in 1994, UNIKA currently has 42 members who, through their skills and innate creativity, contribute to keeping alive the artistic legacy mentioned above: master craftsmen who embody the uniqueness and diversity of Val Gardena’s traditions, with the common aim of enhancing the artistic heritage handed down through generations.
Matthias’ style, for example, looks to the contemporary and the surreal, always centered on the human figure like the naked girl who is taking off a shoe that she is shaping while talking to us. “They asked me for a woman to place near a large Roman bath,so I had a model pose,I took some photos,then I made the small-scale model
There are dozens of different chisels in this shelf. Do you really use them all?
“No, some are objects that I have carried with me all my life and therefore have an emotional value, they almost become good luck charms. Others have been passed down for generations and have particular importance for our family. There are about a hundred here, but in reality I use about thirty, forty at most.”
How long does it take to create a work like this?
“Four or five weeks. My job is also my passion,but don’t think that sometimes you don’t want to give up and do something else,or simply take a day off. However, this profession requires much more discipline than one might think, first of all becuase there are often deadlines to meet and secondly because when a sculptor stops for too long a period, especially when young, it doesn’t take long for him to lose his manual skills.I know artisans who become so fond of their works that they no longer want to sell them or part with them, but I think that in the end it is indeed a closing circle: you create what you like and then you give it to someone who can enjoy or appreciate it.”
You come from a family of sculptors.How do you remember your childhood and first apprenticeship?
“I learned everything I know starting from sacred sculpture: Madonnas, saints, icons created for churches, often on commission. Over the years and as I developed my career, I moved on to the themes that I like and are most interested in: in October I held a personal exhibition in Venice focused on irony and the surreal world, where the protagonists were boys or children who were trying to take pigeons with vrey unlikely tools, or others trying to make a cat fly. All with ironic,but also a little critical tones.”
How long did it take before you were able to sculpt such detailed elements as folds in clothes, hair or wrinkles in skin?
“Well consider that I started working immediately after middle school, at fourteen I was already here; then I went to art school, but without ever abandoning my practice in the atelier. In short, many years and also many hours of manual work. Over time I made myself known first in Val Gardena and then beyond: today some galleries in strategic places in the world sell my works, but UNIKA has allowed us to take a further step, because it has a truly international market”.
Tell us more about this project.
“I am the President, but it was not my initial idea because it was born thirty years ago. The group that is part of it is indeed extremely select: the first requirement to possess is the VAT number,that is,to be professionals in the sector who make a living from this profession and not simply enthusiasts.This essential element gives us the possibility of increasing quality, but it is also true that in Val Gardena not all professional sculptors are part of the collective.
We are 42 members,of which 30 sculptors,8 fine art painters,2 wood turners and 2 photographers,or perhaps a third of those who work in this
How does the September event that showcases your works take place?
“It is a fair set up in a large complex containing four tennis courts,prepared for the occasion: a floor is put in and walls added,everyone has their own space in which to exhibit,usually proposing five or seven new works. This year we invited everyone to participate, so we had 42 people who exhibited at UNIKA: in addition to sculpture there were works of painting, photography and woodturning. Obviously the goal is to sell the greatest number of works present and from this point of view 2024 was one of the most prolific years”.
Can you tell us about one of your latest creations?
“This work is titled I don’t need the wind and wants to express the concept that in life we often create a parallel world where everything works as we want.The little girl is saying,in fact,that she doesn’t need the wind of nature,because she already has the hairdryer to recreate it in an artificial way: this game,this pride of man who thinks he can do everything alone,is the central theme of the ‘work. The truth is that with a hairdryer we will never be able to do everything that the wind gives us, yet we don’t even realise it. Along with my creations, this year the photographs were notably engaging at UNIKA: such as, an artist took a shot of New York that was remade many times and then assembled them one on top of the other, until it looked like an abstract painting”.
How has UNIKA evolved over these thirty years?
“Thanks to the arrival of new generations, the changes are linked above all to style: if thirty years ago there were only Madonnas, now in the catalog there is only one at most, because each participant experiments in their own specific field of interest. On the other hand, there are techniques such as soft sculpting, so called when the work is so fluid that it truly seems to melt, which have now become extremely rare and unfortunately not taught by anyone, thus destined to disappear. There remain perhaps only one or two sculptors capable of mastering this difficult technique and obviously they sell a lot due to the scarcity of supply,but this implies that these masters do not have the time to take young people into their workshops to teach them the trade”.
“You touch a sore point, because in theory the best sculptors should teach in schools, but there is a cultural and economic problem, since being a teacher is not a very remunerative job in our country. I believe that there should be bodies, institutions or private sponsors capable of supporting the costs of serious and professional academies.”
“Here is a further problem, as obviously we are not talking about just theoretical work, but rather mainly practical. Even though many of us sometimes take an apprentice for a few weeks, it is indeed certainly not enough to learn enough: it takes years and years to acquire sufficient manual skills and this is why once upon a time, if you wanted to be a painter or a sculptor, we first went to the shop, a practice that has unfortunately now disappeared. Luckily I had my father who worked as a sculptor and taught me almost everything I know.”
“first of all, we need to change our vision of time: we live in an extremely fast world, but to do this job requires a lot of patience, perseverance, discipline and we must never be hasty. In addition to this, you obviously need to have an innate aptitude for manual skills and a lot of creativity, as each work is different from the other.”
What are the key techniques used in wooden sculpture?
time.news Interview with Matthias Kostner: A Dive into the World of Sculpture and Artisan Heritage
Editor: Welcome, Matthias! It’s a pleasure too have you here. Your work in sculpture and as the president of UNIKA sounds fascinating. Can you start by telling us about the magic of creating art in your atelier?
Matthias Kostner: Thank you for having me! There’s truly something special about the process of carving out life from a block of wood. Walking into my atelier,surrounded by the tools passed down through generations,is like stepping into a world where history blends with creativity. Each piece tells a story, not just of the material, but also of my family’s legacy.
Editor: Speaking of legacy,you mentioned coming from a family of sculptors. How has that influenced your journey in wooden sculpture?
Matthias Kostner: Growing up in a family of artisans has been both a blessing and a obligation. I started with sacred sculpture—creating Madonnas and saints for churches—which grounded me in the traditional techniques. As I grew,I found my voice in contemporary themes,like irony and surrealism. But that foundation shaped my skills and understanding of craftsmanship.
Editor: How would you describe the evolution of wooden sculpture in your region, Val Gardena?
Matthias kostner: Val Gardena is historically notable in crafting wooden sculptures. It began as a domestic craft in the 17th century,dedicated to devotional pieces. Over centuries, it evolved—a fusion of local traditions with global styles, transforming into refined artistry that balances the sacred with the secular. Today, we celebrate both the past and the present through our work.
editor: That blend of tradition and modernity is quite compelling. Can you walk us through your creative process?
Matthias Kostner: Certainly! My process starts with selecting the right wood and cutting it into blocks. From there, it’s a meticulous journey of chiseling away material, moving to finer tools, and eventually sanding it smooth. Each step requires patience and an understanding of the wood’s nature.for a single piece, it often takes four to five weeks, provided I remain disciplined and focused on the craftsmanship.
Editor: It sounds like there’s a lot of emotional investment in your work.Do you ever find it difficult to part with your sculptures once they’re completed?
Matthias Kostner: Absolutely! Like many artisans, I develop strong attachments to my pieces.However, I see the act of creating as a cycle; I make something meaningful and then hope to share that with someone who appreciates it. It’s gratifying to know that my art brings joy or provokes thought in others.
Editor: UNIKA, the art fair you lead, has played a pivotal role in promoting artisanship in Val Gardena. What inspired its formation, and how dose it contribute to the artistic community today?
Matthias Kostner: UNIKA was established to preserve and elevate the craftsmanship of our region. It began as a small group, and over the years, it has grown to include 42 talented artisans—sculptors, painters, and photographers. Our collective is committed to maintaining high standards of quality and creativity. The event in September is more than just a fair; it’s a celebration of our heritage and a platform for showcasing our work to the world.
Editor: That’s impressive! Could you share what attendees can expect from the September event?
Matthias Kostner: The event is set up in a transformed sports complex, allowing us to create vibrant spaces for each artist.Visitors will encounter a rich tapestry of creativity—from intricate sculptures to captivating paintings. It’s an immersive experience where art lovers can interact with the artists, learn about our processes, and understand the stories behind our work.
Editor: As we wrap up, what advice would you give to aspiring artists looking to delve into sculpting or artisan crafts?
Matthias Kostner: My advice is to never lose sight of your passion and to embrace the discipline that craftsmanship demands. Start with the basics and don’t rush the process. Each chisel mark, each error, is a step towards mastery. More importantly, find a community—like UNIKA—that supports and challenges you. That network can be invaluable in your journey.
Editor: Thank you, Matthias, for sharing your insights and experiences. Your dedication to your craft and your commitment to the artistic community is truly inspiring!
Matthias Kostner: Thank you! It was a pleasure to share my journey. I hope more people can connect with the art of sculpture and appreciate the rich traditions behind it.
