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Enrico Bivi was born in North-East Italy.

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He was formally trained in the field of architecture. During this time he found a flair for photography, with a view to stop and read the space that surrounds us. It remains an indispensable means to be able to grasp, analyze, and deconstruct the components of the context in which he operates.

The images that Enrico seeks are always made up of a matrix composed of spaces and movements generated by light and people. The synergy between these elements is what transforms a space into a place. If this synergy shines through in the images then it deserves to be selected. Through “Paneidoscope” channel, currently he carries out photographic projects for scientific magazines in the architectural and urban fields.

Enrico, before start talking about your Photography, could you tell us about yourself? Who is Enrico Bivi?

Enrico: I live and work in northeast Italy. The approach to photography was born simply as a tool to document the places visited during travel and in daily life. Now photography represents one of the main passions as it holds together the curiosity in traveling, the profession, and the distraction.

Torino, postindustrial city

You are trained in the field of architecture. How much does that help in photography?

Enrico: In our time there is a very strong relationship between architecture and images. Many of the new architectures are derived from photographic suggestions and at the same time, the photographic project is able to detect new identities of the architectural work.

The communication of architecture passes through images, which are a source of information and suggestions for the architect.

In recent years, this close link between architecture and images has also led to excesses and role reversals between the two disciplines.

In fact, many critics claim that the extreme spectacularization of architecture, where buildings have become pure iconic elements, is the mirror of an ideological crisis of a liquid society.

At the same time, in this historical period, whereas it is impossible to move around and seeing the world with our eyes, the link between photography and architecture has almost become a requirement. Currently, we know the present if we see a photographic shot of it. I, therefore, believe that the passion for the discipline of architecture can inevitably lead to a passion for the most popular tool currently used to communicate it. Through this strong relationship, it was possible to get closer to the passion for the art of photography. However, the photographic project of architecture cannot be trivially described as a simple communicative act. It becomes effective and authoritative from the moment in which it manages to assume its independence and is able to grasp the meaning of time and place.

Inside Paris

How would you describe your photographic approach?

Enrico: The images that I seek are always made up of a matrix composed of spaces and movements generated by light and people. The synergy between these elements is what transforms a space into a place. If this synergy shines through in the images then it deserves to be selected.

A window on Istanbul

What is the most important component of a spectacular architectural photograph?

Enrico: It is very difficult to establish this component because it means decreeing an extraordinary work in terms of value and singularity. A current challenge is certainly to transfer the authenticity and charm of an image created with an analog instrument into the digital age.

Paris outside

Do the Internet and increasingly high-quality mobile devices mean the death of professional photography?

Enrico: I believe that this new digital hyper-diffusion has led to an overproduction of amateur photographs but not to the death of professional photography. The digital age and the success of networking platforms such as Instagram have instead made it possible to bring many people closer to photography, even from a professional point of view. In this context, I believe that a quality shot from a simple image is still recognizable.

Venice lagoon

How do you protect the rights of your photographs in this online era?

Enrico: I am currently applying the invisible watermark method, where it is possible to trace the watermark and therefore the authorship of the shot.

Koper

You are also collaborating with for scientific magazines in the architectural fields. Can you tell us a bit more about that?

Enrico: The collaboration with magazines arises from the participation in calls for photos. The positive feedback I received in some cases led me to later receive specific assignments as well.

Another Rome Flaminio

What are you working on right now?

Enrico: I am currently working on a photographic project to be nominated for an award of an institute of urban planning regarding the change of cities in the covid era.

Venice square

What advice would you give to photographers wanting to work in the world of architecture?

Enrico: Photography is not only the best iconographic description of the project, so I recommend investigating the hidden meanings of contemporary architecture.

Another Rome Alessandrino

Where would you like to go next?

Enrico: Never like now I’d like to travel anywhere.

Anything you would like to add that I haven’t asked?

Enrico: The spread of mainstream photography would be a good opportunity for anyone to learn to observe, rather than to communicate their originality.

 

To find out more about Enrico and his art, please check his Instagram

Thank you!

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