Born in 1956 in Argentina to Italian parents, JC D'AMICO was a student in Rome when he made his debut in photography. His studies in Foreign Languages and Literature at La Sapienza University led him to take an interest in the history of art and the avant-gardes of the early 20th century. He became passionate about the artistic theories behind movements such as Dadaism, Cubism or Surrealism, theorized and embodied by André Breton.
Convinced of the important place that photography could take in his evolution towards pictorial abstractism, he began to experiment with new techniques to create images capable of representing another universe, another reality closer to instincts, sensations and soul upheavals.
The photos look more and more like dreamlike, even nightmarish images which are the result of moods caused by contrasting emotions.
Other images, constructed in a more rational way and with a precise project, are more deliberately committed messages and are testimonies that want to oppose an increasingly dehumanized and senseless reality.
As a professor and researcher specializing in the Italian Renaissance, his analysis of painting is nourished by knowledge of the different eras and cultural currents that lead him to question the evolution of photography and its echo in society.
Inspired by his readings and his research, he delves into experimental photography and creates a technique aiming at producing abstract images which would go beyond the concrete, allowing him to express an unseen reality.
This attempt to express the invisible through surreal images enables him to express his reality and break free from classical beauty standards.
Thus, throughout the creation of these pictorial photographs, he externalizes the anxieties, fears and questions felt in the face of a denatured nature and a dehumanizing society.
The technique mainly revolves around the negative of the original photo, which is reworked by hand using specific tools and color filters. He works on the negative like on a canvas to reveal his perception of the moment captured.
For some works, the creation process is extended digitally.
