A true artist is measured in terms of development, rather than by immediate success. And the work of art, this something that is unrealizable in its entirety, originates from a creative humus, rather like Michelangelo’s sculptures that materialize, appearing to emerge from a block of marble, it germinates from an idea and from its conceptualization, yet apparently lacks form or is wholly recognizable in its organic state. The term “art” derives from the Latin “ars”, taken from the Greek word “tekné”, which refers to the capability to transform an idea into an object, be it material or otherwise. Art, more than creation, can be defined as the assimilation of concepts and the material transformation of ideas that metamorphose based upon a gradual process that is aesthetic but also ethical in nature. In this sense we can say that Stefano Poda’s body of work is the fruit of an evident “tekné” resulting from a mental process that transforms a concept into a complex scenic reality, based on the combining of distinct artistic disciplines. Stefano Poda conducts an extremely wide-ranging exploration into the spirit and the material world. It is the result of a transparent and honest intellectual labour, of analysis and of an ethical and aestethic development, cultivated by a broad literary, musical and philosophical research extended to the field of plastic arts. (Text by Jaume Radigales, from “The truth in art” The Scenographer March 2016.