Andrea Galvani is an Italian artist, who was born in 1973 in Verona. He is living and working in New York for now. Draws from disciplines associated to scientific methodologies, but conceptual research is represented mostly through photography. He works on existential topics and experiments with violence documentary and represents fragile existence and mortal reality through installations and enigmatic photographs. His work takes many forms: sculpture, drawings, text, collage and photography.

The concepts are always an idea that grows with me, speaks with me, sleeps with me, before taking its concrete form. Video and photography are certainly the media that I use most frequently, together with drawing and sound installations…The greatest merit of photography is also its greatest weakness: a fraction of a second is enough to capture an image. The trouble is that it will be completely faithful to the moment to which it belongs and then it’s quite possible that people will be looking at it for dozens or even hundreds of years.”

When he was child, his family moved to the countryside surrounded by the power of nature.

“I grew up immersed in a special environment. I was a very weird child, probably too serious for my age. I absorbed my surroundings in a very scientific way, perhaps through the influence of my father, who was a surgeon and was able to foster my abnormal curiosity. My work is still based on that same curiosity.”

He earned a BFA in sculpture from the Academy of Fine Arts in Bologna in 1999, and his MFA in Visual Art from Bilbao University in 2002. After he visited  New York and his career began.

New York is basically a kind of jungle for him:

Both socially and physically speaking, it’s about understanding how to jump from tree to tree and how to fight your way through the thorns and humidity. Then it opens up like a prairie.”

His recent work called The End was made in 2015 and exhibited in both continent in Europe and America. The work gained some awards. It is made with the installations and photos mainly which represent sundown in different colors.


Although he applies experiments and some interdisciplinary methods of work he still photograph and represents himself that way.

“Very often I think my work is much more like that of a hunter. I wait, map out routes, take notes, sleep in my car or in a tent for weeks, set traps, work out how to get close to my prey and then, maybe, I shoot. Photography has taught me to always be vigilant while waiting. For me, it presupposes premeditation, patience, speed, and intuition.”



Author: Dodochi Gogia




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