From Iran to Brazil, and from Kenya to Ukraine, eight artists from different parts of the world will meet in Vergnacco, Italy, to create stone sculptures before the public.
The artists will take part in the 29th International Stone Sculpture Symposium of Friuli Venezia Giulia.
The event will be held at the Sculpture Park in Vergnacco, a village in Reana del Rojale, between September 4 and September 20, 2026.
During the symposium, visitors will watch the Artists work on large blocks of stone and transform them into original artworks. The participating sculptors are Somayeh Dehghan from Iran, Mauro Yojcom from Guatemala, Arianna Palmieri from Lombardy in Italy, Gerard Motondi from Kenya, Cristilla Paula da Silva from Brazil, Francesco Cadeddu from Sardinia in Italy, Inna Tkachivska from Ukraine and Fabio Chiarello from Veneto in Italy.
For Kenya and Africa, the event will provide an important platform for Motondi to present the country’s (Continent’s) long tradition of stone carving.
He hails from Tabaka in Kisii County, an area widely known for soapstone mining and carving.
Motondi began learning the craft when he was young. Growing up in Tabaka, he watched older members of the community work with stone.
He started by making simple models of birds, fish and animals before developing his skills through practice and apprenticeship. His early training helped him understand how to study the natural shape of stone and turn it into a meaningful object.
His artistic journey was also influenced by the late Elkana Ong’esa who hailed from Tabaka, Kisii as well. He was one of Kenya’s best-known stone sculptors and art teachers.
The late Ong’esa came from a family with a long history of working with soapstone. As a child, he made animals from clay before moving on to soapstone under the guidance of his grandfather.
Ong’esa later studied fine art at Makerere University, where he focused on painting and sculpture. After returning to Kenya, he worked as a teacher and continued creating sculptures.
He also trained and encouraged young artists, helping to pass the knowledge of Kisii stone carving to a new generation.
He worked with and learned from Ong’esa. The late sculptor’s influence helped strengthen his understanding of stone, design and artistic expression.
Ong’esa believed that stone carving should not be treated only as a way of making souvenirs or household items. He wanted artists to develop original ideas and create works that carried cultural, historical and social meaning.
Ong’esa’s work could be found in Kenya and abroad. His monumental sculptures are associated with public spaces and institutions, including the UNESCO headquarters in Paris and the United States Embassy in Nairobi.
He also created works displayed at Uhuru Gardens Memorial Park, the Nairobi Gallery and the Elkom Art Centre in Kisii.
In 2011, with support from UNESCO, he organised the first African Stones Talk Symposium in Kisii. The event brought together artists and encouraged discussion about the future of stone sculpture.
Soapstone has been central to the economy and cultural identity of many families in Kisii. It is softer than granite and can be shaped using basic tools such as knives, chisels and files.
Its soft texture makes it suitable for bowls, animals, decorative objects, figures and abstract sculptures. The stone also comes in different shades, including white, grey, pink and brown, giving artists room to create varied finishes.
However, soapstone also has limitations. Because it is soft, it can be damaged more easily than harder stones when exposed to rain and other outdoor conditions.
Motondi has previously explained that soapstone is not always suitable for large garden monuments because it may not last for many years outside.
The industry also faces pressure from the reduction of soapstone deposits and increased demand from other industries.
Later on, artists opted for alternative materials because soapstone resources were declining. Motondi and other sculptors promoted the use of granite, a harder stone found in parts of western Kenya.
Since working with granite requires more advanced equipment, greater physical effort and longer working hours, artists need diamond-blade saws, specialised chisels, grinding tools and protective clothing.
However, granite can produce stronger outdoor sculptures and may give artists better financial returns.
Motondi has worked in both traditional and contemporary sculpture, representing Kenya at international exhibitions and symposiums in countries such as China, India, South Korea, Russia, Turkey, Canada and the United States.
He is also linked to major public artworks, including the Mashujaa Monument at Uhuru Gardens in Nairobi.
He won a gold medal at the 2008 Beijing Olympics for one of his creations. His appearance at the Vergnacco symposium will therefore be more than a personal achievement.
It will also introduce international audiences to Kenya’s stone-carving heritage and the creative possibilities of African sculpture.
As the eight artists work side by side in Italy, visitors will see how artists from different cultures interpret stone in different ways.
For Motondi, who happens to be the only African specifically from Kenya, the event will offer an opportunity to honour the training he received in Kisii, continue the legacy of Elkana Ong’esa and show how Kenyan sculptors are using stone to tell stories that can be understood across the world.
“Ong’esa was a man of integrity who overcame many hurdles, he trained and mentored me a lot. I remember how we narrowly escaped being shot in the head with him when we encountered an unexpected situation one late night,” Motondi once recalled.