Unico is the narrowest sense to describe this Antenore.
In English, “One-Off” is the clear translation, but in reality, for Stelbel, the meaning of uniqueness applies to all frames we create, not just one. There is nothing standard, there is no Stelbel frame that is identical to another.
And in this cornerstone of our production, the adjective “Unico” for this Antenore frame, crafted by the artist and friend Luca Longhi, is superfluous and taken for granted; what remains is the uniqueness of his art.
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My name is Luca Longhi; I am a painter, a cyclist, and a native of Bergamo. About ten years ago, I moved to London to pursue my dream of becoming a painter. It might seem unconventional to leave a country like Italy to study art abroad, but I felt a compelling need to leave my background behind and step out of my comfort zone. Back then, I felt confined and somewhat restricted in my hometown, which drove my decision to explore new horizons. Eager to connect with the contemporary art scene and expand my knowledge, I enrolled at the University of the Arts London and made the move. Collaborating with Stelbel sparked a natural flow of ideas, leaving me curious to see how my artwork would translate onto a steel bicycle. We decided to paint a frame, and a few weeks later, a stainless steel Antenore arrived at my studio. Initially, I felt a mix of panic and excitement. I wasn’t sure where to begin, how to approach it, or how to make it distinct yet reflective of my artistic style. Countless questions crossed my mind. Having never painted a bike frame before—and being used to flat surfaces—working on a three-dimensional object presented a real challenge. Ultimately, I just had to trust my instincts and dive in.
In my artistic process, I observe, research, and incorporate unconventional materials. My curiosity pulls me in many directions, often leading me to discover the wrong methods for the right reasons. When I work, I seek to reproduce memories and atmospheres, exploring how marks and layers coexist, interact, and build relationships. There is a sense of decay in my work, a feeling that everything is subsequent in time. Yet, rather than focusing on a romanticized notion of abandonment, I prefer to dwell on the incompleteness of memories and what remains—traits I deeply wanted to translate onto the frame. When I began the project, I was working on a piece for a potential exhibition with the frame standing nearby. Looking at them together, I decided to work on the painting and the Stelbel simultaneously. To treat the Antenore as a canvas, I wanted to approach it as an instinctive performance of decisions. Resolving, erasing, building, cutting, pasting, composing, combining, covering, scratching, adding, removing, breaking, vandalizing, recoating, and resurrecting are all integral actions within my work.
I wanted to create a frame that felt dynamic and fast. To achieve this, I chose to use contrasting colors alongside both natural and artificial elements, giving the frame a sharp, expressive edge. These are all qualities that matter in practice. Yet, while cycling is a fast-paced activity, I am quite the opposite when it comes to my work. I am a slow painter; I need breaks to detach myself from my paintings before returning to them. The project took nearly a year to complete, but I couldn’t be happier with the final result.
