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60 polaroids mounted as a mosaic
cm 83 x 58 | 36.7 x 22.8 in.
Unique work
Maurizio Galimberti (Como 1956) has been passionate about photography since he was a boy, shooting in black and white, but also using a panoramic Widelux camera as proof of his passion for research. After leaving his job as a surveyor, he married the profession of photographer using almost exclusively, since 1983, the Polaroid instant film of which years later he would become testimonial. An acute scholar of the avant-garde, he makes the Dada, Surrealist, and Futurist language his personal language to create projects on portraiture, landscape, and revisiting historical images that are exhibited in galleries and museum spaces, published in books and magazines, and used for advertising campaigns.
Although his work encompasses a broader range of techniques – as confirmed by a small volume published by Polaroid Italia, which highlights the film’s many creative possibilities – including ready-mades and transfers, the manipulation of individual images during development, and frottage, it is through the mosaic technique that Galimberti has made a name for himself and gained recognition. The decomposition and recomposition of the urban landscape focuses on an architectural detail of the Maxi Museum in Rome, where slight variations in the shots are arranged in a horizontal sequence that fades into increasingly muted colours. Very different in its colour scheme but not in spirit is the work created by photographing the monumental church in Milan: here the choice of verticality is emphasised by the expanse of sky, which, as the composition unfolds, gradually narrows its initially dominant space until it almost disappears.
cm 83 x 58 | 36.7 x 22.8 in.
Unique work
Titled, signed and dated in pencil on the white inferior recto margin
Maurizio Galimberti (Como 1956) has been passionate about photography since he was a boy, shooting in black and white, but also using a panoramic Widelux camera as proof of his passion for research. After leaving his job as a surveyor, he married the profession of photographer using almost exclusively, since 1983, the Polaroid instant film of which years later he would become testimonial. An acute scholar of the avant-garde, he makes the Dada, Surrealist, and Futurist language his personal language to create projects on portraiture, landscape, and revisiting historical images that are exhibited in galleries and museum spaces, published in books and magazines, and used for advertising campaigns.
Although his work encompasses a broader range of techniques – as confirmed by a small volume published by Polaroid Italia, which highlights the film’s many creative possibilities – including ready-mades and transfers, the manipulation of individual images during development, and frottage, it is through the mosaic technique that Galimberti has made a name for himself and gained recognition. The decomposition and recomposition of the urban landscape focuses on an architectural detail of the Maxi Museum in Rome, where slight variations in the shots are arranged in a horizontal sequence that fades into increasingly muted colours. Very different in its colour scheme but not in spirit is the work created by photographing the monumental church in Milan: here the choice of verticality is emphasised by the expanse of sky, which, as the composition unfolds, gradually narrows its initially dominant space until it almost disappears.
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