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Andrea Morucchio. Pensieri integri
(Laura Cornejo Brugués, no.68 Rex Gold - without boundaries)

Without hesitation Andrea Morucchio (Venice - Italy, 1967) defines himself as a photographer. An irreverent verdict to the perception of anyone who has traced his artistic path, that sees him as the protagonist, both in Italy and abroad, of a full and eclectic career as a contemporary artist, built on a base of experimentation and overlaps with different disciplines, including sculpture, multimedia installation and performance. After 15 years of interacting with various means of expression, Morucchio decided to return to photography; his is a corpus of images that moves on a trajectory between the analytical reading of reality – as a research method – and the procedural, conceptual use of photography,revealing the inevitable distortions that accompany the process of seeing and interpreting the image. The photographic work of Andrea Morucchio is an organic synthesis and rewriting of a pre-existing artistic language, which, in a dialogical way, gives voice to the integrity of the artist, if by this we mean that state of being in tune with our own thoughts, and from which result integrated thoughts rendered into images.

Laura Cornejo Brugués: «In your photography you explore the perceptual processes of the form in the image. Through a dialectic parameter, you open the objectifiable spectacle to a discontinuous transcendence of reality, and you activate that mental and unconscious tension that makes us “see the world”. In your opinion, how does this methodology differ, from the practice of the “decisive moment” that, in the 90’s, you cultivated as a photojournalist?»
Andrea Morucchio: «Henri Cartier-Bresson inspired by the philosophy of Zen archery, theorized the methodology of the “decisive moment” and the “photographer-archer” as essential to obtain a unique and unrepeatable reportage image that synthesizes in a visual narrative of a single image even a fact of everyday normality. My reportage photography instinctively has this methodological approach that would be better defined as a mental/spiritual approach which looks to grasp the ‘decisive moment’ thanks to an attitude of immediate reactivity to the photographed subject, to the target pierced by the arrow of the archer-photographer. In recent years I changed photographic language, from reportage/dynamic to landscape/static via a more complex communicative form that in some cases transcends reality and grapples with the codes of contemporary art. Yet I believe that the capture or poetry of the ‘decisive moment’ remains essential even in this form of expression in which the final moment of the shot is the climax of an empathetic relationship with the photographed subject which is realized in a “decisive moment”, a moment of suspension in which a concordance of elements placed in minute order in the frame determines the unconsciously desired image. Reaction/execution times may change but the “decisive moment” or when you activate the shutter bringing the best combination of elements into play remains the same.»

«In the series Porto Marghera (2010-2014) you investigate the metaphysical dispersion of the urban territory and the industrial landscape. Isolation, dereliction and estrangement, become figurative formants and critical intervention on the phenomenology of the “Non-Places”. From its aesthetic and enigma you draw inspiration to redesign a visual, anthropological identity, as the body of the image.»
«Any industrial area in decline such as Porto Marghera (Italy) conveys feelings of isolation, dereliction and estrangement. An unreal and

metaphysical atmosphere in which you find yourself immersed and which for me becomes a stimulus and the key to photographically interpret the territory, in order, as you say, to redesign a visual identity bringing out a new vision of reality that elevates the “Non-Places” of an industrial zone into a place with a full and intelligible identity. Not a simple operation, only a few shots characterized by a particularly expressive power linked to the synergy of the elements framed – structures, forms, architectural layers and intangible traces of a human presence – in addition to revealing the anthropological identity of the image they can aspire to a redesign of visual identity.»

«Colour, a compositional element with constructive functions, is capable of determining the emotional involvement of the observer. Campagna Veneta (in progress) is an archive of “fields of colour” or a mental experience that becomes landscape of the memory, and, like the natural microcosms of Land Art, has universal and sacred value.»
«The ability to empathize with the photographed subject manifests itself particularly in a natural landscape such as that of the countryside in the areas of reclamation around Torre di Mosto (Italy), where I have been photographing for over a year for an exhibition project that will be entitled Campagna Veneta. A body of images which seeks to express the genius loci of these places by eschewing facile clichés of bucolic beauty in which the chromatic backgrounds constitute the mainstay of the photo. But, if colour, as has been scientifically proven, has an influence on our psyche, then we can say that these colour compositions allow us to see beyond what is represented in the image, thereby allowing a “landscape of the memory” to emerge and revealitself through a spiritual approach as a kind of Signatura rerum.»

«At the Museo del Paesaggio di Torre di Mosto the installation Terre in Vista was set up, a photographic assemblage in which the abstraction to which you submit the image brings out the quality of artifice and enhances the artistry. In your opinion, where are the limits of the photographic nature of a work? Is now impossible to talk about photography, as a means of image production and as an autonomous artistic language?»
«The installation Terre in Vista, composed of eight printed panels with over all dimensions of 16 x 1,2 meters, is part of the series Dialoghi Celesti an initiative sponsored by the Museo del Paesaggio that entrusts an artist with the composition of a dialogue between the earth and the sky displayed for a period of at least two years outside the museum in a space between the two buildings that comprise it. The particularly representative value that the commissioning of a work of this kind requires in relation to the context in which it is set suggested to me that photography as an autonomous artistic language was not sufficient to achieve a satisfactory result, therefore I developed a project where the role of photography was just the initial element of a more complex creative process. Some of the landscape shots taken of the countryside surrounding the Museum through their multiplication and rearranging in mirror image became a series of abstract visions. Giorgio Baldo, curator of the project, captures the meaning of the work thus: “Morucchio has recognized, in the folly of the analytical photographic eye, which would like to comprehend and classify all the particular details of the earth (and lose itself in the detail), the outlines of a few figures. He has referred to these great restrictive boundaries, as certainties of the ‘true’ vision; attempting to give substance to the geometric genius inherent inside them, by orchestrating signs, space, colour and motion.”»