Nato a Palermo nel 1974, ho una naturale predisposizione per l’inquadratura sin dai 10 anni, sbizzarendomi con la Polaroid 1000 di mio fratello. Qualche anno più tardi i primi esperimenti di street photography lasciano il posto al mondo patinato del glamour. La vera rivoluzione avviene avendo tra le mani una bridge Kodak dal potente zoom che allena il mio occhio a cercare i dettagli nascosti tra le cose, come in un gioco immaginario in cui ci sia sempre qualcosa da cercare per solleticare la meraviglia della sorpresa.
Nel 2008 torno al mondo del glamour piazzandomi finalista al PX3, Prix de la Photographie di Parigi. Qualche anno dopo inauguro il mio portfolio sul portale PhotoVogue di Vogue Italia arrivando a più di 500 foto. Da allora i riconoscimenti internazionali sono piovuti con una certa regolarità e ciò mi ha spinto a sfidare sempre più le mie capacità, osando anche nel campo della foto documentaristica.
Premi e riconoscimenti alla sezione “Awards”
Born in Palermo in 1974, I have been having a natural flair for the shot since I was 10, using a Polaroid 1000 model borrowed from my brother. A few years later the first experiments in street photography gave way to the glossy world of glamour. The real revolution begins owning a Kodak's bridge camera with a 24x zoom which trained my eye to look for the hidden details of things, as in an imaginary game in which there is always something hidden from reality that may tickle the wonder of surprise.
In 2008 I returned to the glamour theme placing as finalist at the 6th edition of Paris' PX3. A few years later I inaugurated my portfolio on Vogue Italia's PhotoVogue website with more than 500 photos. Since then, international honors have dropped with some regularity and this has pushed me to challenge my skills more and more. Currently I dedicate myself mainly to street and documentary photography. I recently finished my triptych on my mother's family.
Awards and recognitions on the "Awards" page.
The interest in street photography is strictly connected to architecture. Speaking about architecture is thinking about it not only as a form but also as an evolution of the format in the civil habitat, such as palaces, buildings and monuments shape and give shape to a city and constitute its face and documentary storytelling. Photography must not only archive visions of the present but also be the object of evaluation and criticism of the territory for the future.
As an artist he tries to make the documentary discourse something universal starting from the particular: personal experiences such as recounting the illness of a family member in a way that is accompanied by moments of poetry and that speak not only to those close to him but that suggest a universal vision.
Precisely for this reason he has lately also concentrated on the work of photographic collages, thus interrupting the rigid rational thread that binds the photos and allowing the introduction of signs, symbols and other illustrations as a support to photography, not to explain it but to detach it from the weight of reality.