Learn the Art and Set it aside!
by Andrea Saltini
Welcome to the third installment of the Learn Art and Set It Aside! (from the next issue of sUPporter, I will stop counting appointments… I promise!), on this occasion I would like to talk about Maurizio Bresciani.
Maurizio Bresciani was born on 7 September 1973 in Viadana, in the province of Mantua. Someone (who was it?), told me that, thanks to an old camera of his father, the small Maurizio, at the age of 6 years, began to fall in love with photography.
After obtaining a diploma as a graphic designer at the Toschi Art Institute in Parma, he began working as a freelance graphic designer for a number of agencies and, at the same time, as an assistant photographer for various companies in the sector… In 2007, driven by his disruptive passion and creative urgency, he decided to open his own studio, which would allow him to embark on a professional career as a fashion and entertainment photographer. This was followed by a rapid rise that soon saw him establish himself in the mid-2000s as a leading figure among photographers in our country.
Today Maurizio works for many international fashion brands and with several Italian music celebrities.
In recent years, Bresciani, has begun to produce and create, first for himself (to give vent to his irrepressible passion for art) and, later on, for the public (for all of us), a series of works that I would define as sub-photographic, or rather that re-imagine and define his concept of photography and art. These works are highly original both conceptually and technically. You could say that his artistic work, his research, is a sort of explicit relationship between photography and painting…a pictorial gesture. These works investigate perceptions of interconnection, collaboration and hierarchy, trying to understand, and redefine, the most abstract and impalpable part of feelings and moods; the existence and adaptation of human behaviour, too.
Maurizio Bresciani’s work organises and examines complex statements concerning the relationship between photography and painting, interrupting the classic status of photography with a series of visceral pictorial gestures and at the same time pushing forward an intense and, above all, new experience of looking at, and approaching, photography.
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