andrea gregori

photography

I was born in Vicenza (Italy) in 1965. After the classical studies at the high school, I graduated in physics at the university of Padua, and did a PHD in theoretical physics at the university of Trieste. Besides the research in the domain of physics, I always cultivated a strong interest in several aspects of arts, in particular visual arts and music. My passion for photography is the result of a maturation, on which the works of the great masters of cinema have played a role of primary importance. My approach to photography is complementary and on the other hand similar to my research in physics. Both are guided by the pleasure for the discovery, for making explicit what exists but we don't notice at first sight. I live in Berlin since the year 2000.
My way to photography

I am more interested in "producing" an imaginary world than in "re-producing", reporting something real. Yet what I do is a kind of "street photography", and what I show in my photographs is closer to reality than one would think at first sight. I am not bound to a particular shooting or printing technique: I have explored most of them, from very old ones (pinhole photography, gum printing) to digital photography and printing, often mixing old and new in a single work.

Old techniques

The result of a photo is generally a bi-dimensional surface in which the original perspective and sense of space have been either deeply distorted or completely abolished. Yet, when printed, it is a three-dimensional object that one can handle and touch. As such, it possesses material, tactile qualities. The film itself has a structure, the grain, which contributes to the pattern of the final result. In other cases, the pattern is provided by the paper itself. I like to explore these aspects, also by experimenting with printing on various kinds of non-photographic papers, such as Japanese paper, handmade cotton paper or else, both in black and white and in colour. In the first case, after a possible sizing of the paper with a gelatine coat, I brush the light-sensitive silver gelatine, and then process it in the dark room. The colour process ranges from the ink-jet printing with archival pigments on brush-coated Japanese paper to the more demanding “gum-dichromate printing” on hand-made, cotton paper. In this case, I prepare by myself the various coatings of UV-sensitive photographic emulsion, pigmented with yellow, magenta and cyan watercolour, or other pigments as well. On the resulting print, the fine grain details of the original negative are lost, replaced by the brush patterns and the fibre of the paper.

3D

Along the same line of research on the possibility of producing a tactile experience are my experiments with the 3D lenticular printing technique. In this case the impression of depth is produced by elaborating on the computer a 2D photography, and in purpose it does not correspond to the depths of the original object. I produce in this way a puzzling yet exciting visual experience.

Videos

Viewing always involves a motion in time, because we cannot embrace an entire picture at a glance.  Creating a sequence, a movie, is a way of “ordering” this motion in time, and allows me to play with sights and sounds. Thanks to our memory, the single scenes, the emotions  they produce, make up one big “walk through an exhibition”. The two-dimensional photos become then one three-dimensional object. A further evolution is embedding in this memory-induced 3D impression a virtual 3D video experience.

Music

I like music in general and, when I have time, I play keyboard instruments. Click here to find a description of my clavichord and listen to some examples of the music I play on this instrument.

up to the top of page