Paolo Nicola Rossini
b. 1972 Milan, Italy
Lives in Monaco.
Education: University degree in Law and economic studies
Rossini’s evolution toward an artistic approach to photography started in 2007. From the beginning he looked for a very personal way to represent reality and the evolution of his work has always been directed to expressing an intimate interpretation of his subjects.
From the first works focusing on abandoned or mostly ignored objects followed by collages of sequential images, his attention evolved to a deeper conceptual approach concentrating on landscapes (in the loosest sense of the word), nature, the elements and a very personal vision of “still life”; in the works the subjects appear as suspended in time and space, almost indefinite.
Rossini experimented with different approaches to reach his goal of a deeply intimate interpretation of reality. As photography aims normally, to freeze a specific moment, contrarily his aim is to extend this moment – essentially catching reality in its transition in time. Simultaneously, he mixes different images in one single photograph, trying to create an alchemy that gives life to a fully new subject.
To achieve this he has developed a process of mixing video and photography, that enables him to catch subjects’ movements and melt different images into one single photograph without using any post production software.
This process creates a suspension between past and present; making transition of spaces and subjects the main theme of the body of work; the subjects lose definition in the movement or by melting into each other and becoming almost abstract and open to multiple interpretation by the viewer.
The concept, style, subjects, processes – all come from the inside and from deep personal inspiration; being self-taught has been very important in this technique of intimate expression, enabling Rossini to be unconditioned by any specific previous teaching and be guided by only his sensations.
Photography is not the final goal but a means of representation and it is used in a more unconventional way; the works look like a painting of a reality seen from the mind more than the eyes and the camera lens.