This piece explores presence, identity, and control through a portrait built from cut peat panels in black, grey, and white. The material brings an organic, textured quality—grounded yet expressive, mirroring the layered nature of the human voice and character.
The direct gaze and the hands placed beneath the chin suggest a figure caught between introspection and assertion. Working with contrast and fragmentation allowed me to simplify form while preserving tension—between clarity and ambiguity, nature and structure.
I’m drawn to people who carry weight in both how they appear and what they choose to withhold. This work reflects my ongoing interest in portraiture as a means of navigating that duality: not just how someone looks, but how they hold space.
In life, there are gifts that take you by surprise and touch a hidden chord within you—one you didn’t even know was there. That was the case with the portrait generously offered to me by Florin and Simina Estefan – a work of art signed by an artist whose name I didn’t know, but whose talent left me speechless: Virgil Niiranen.
Looking at the piece, I was struck not only by the fidelity of the features, but by the way the captured expression manages to tell a story—perhaps even several. It is an art of suggestion, of contrast and texture – a two-dimensional sculpture that seems to breathe.
Virgil demonstrates a rare blend of authentic creativity and meticulous patience. Every layer of depth, every cut, every shadow is conceived and executed with a level of detail only a truly dedicated artistic spirit can achieve.
This work instantly became a living presence in my home. I am deeply grateful to the artist – and to those who gave me this gift – for a portrait that is not just an image, but an encounter with a part of myself.
ROBERTO SCANDIUZZI
Roberto Scandiuzzi is considered today one of the world’s most appreciated basses. Born in Maserada sul Piave in 1958, he began his professional career in the early 1980s, quickly gaining recognition for his remarkable vocal ability. He made his debut at La Scala in Milan under Riccardo Muti and soon performed at major opera houses around the world, including the Metropolitan Opera, Vienna State Opera, and Royal Opera House in London. Scandiuzzi’s repertoire is vast, encompassing iconic Verdi roles such as Philip II in Don Carlo, Ramfis in Aida, and Fiesco in Simon Boccanegra, alongside a wide range of works in French, Russian, and verismo operas.
In addition to his opera performances, Scandiuzzi is a respected concert artist, having collaborated with prestigious orchestras like the Berlin Philharmonic and the Royal Philharmonic. He is also committed to education, regularly leading masterclasses and sharing his expertise with the next generation of singers across Europe. With a career spanning several decades, Scandiuzzi remains one of the most influential and versatile basses in the world of opera, celebrated for both his vocal artistry and his contributions to the musical community.
Working from a photographic reference, I approached the portrait by first breaking it down into simplified visual zones. Rather than focusing on fine detail at the start, I concentrated on how light and shadow define form, using only three tonal values. This allowed the composition to remain bold and readable, even in abstracted form. Once the structure felt balanced, I translated the design into a vector format, separating the layers to match the material workflow. The final digital file guided the waterjet cutting of Konto panels, transforming the image into a physical, layered composition.
Assembly begins with the grey and black components, each painted individually and prepared for tight alignment. These pieces form the base layer and are designed to interlock with high precision, so careful handling is essential throughout the process. Once assembled, this foundational layer provides the structure needed for the final element - the white overlay - which is positioned using a pre-made stencil to ensure accuracy. The adhesive is applied with control, and once dried, any excess is removed to leave clean, sharp edges.
Virgil Niiranen virgil.niiranen@fusionwall.fi +358 44 5535572