Bio

Nato nell' ottobre 1971 a Pietrasanta (LU), Toscana
Vivo e lavoro ad Oristano, Sardegna.

A 8 anni ho avuto la mia prima fotocamera
Non sapevo cosa farmene, pochi giorni dopo l'ho dimenticata.
Venti anni dopo  l'ho ritrovata.
Adesso la fotocamera mi porta dentro e fuori da questo mondo delle meraviglie...
ed io sto cercando di rimanere a fuoco.

Vincenzo Caniparoli was born in Pietrasanta, Tuscany, in 1971 and currently he lives in Sardinia.
He graduated as a surveyor and worked in the sculpture and architectural marble industry in the Carrara area. He started photographing in 1997, devoting himself first to astrophotography, afterwards he turns his gaze towards humanized landscape.
An enthusiast of photographic chemistry, from 2011 he deals with alternative processes and Historical photographic techniques. He has exhibited his photographs in various exhibitions, in Italy and abroad, and has published content on online platforms and international journals such as Lenscratch and Whitefish Review.
He has collaborated with the engraving chair of the Fine Art Academy of Bari, and some of his works are part of the Osservatorio Italiano per la Fotografia Stenopeica (Italian Observatory's archive for Pinhole Photography), at the MUSINF, the Museum of Modern Art and Information of Senigallia (AN), Italy.

Statement

For the past 7 years, my work has been primarily based on alternative photographic processess. Thanks to these techniques, I have discovered ways to create nonexistent or "impossible to capture in real life" photographic situations.
Traditional darkroom techniques, chemical printing in general, and alternative processess like the mordançage technique in particular, lend themselves perfectly for this kind of representations.
Understanding the expressive potential of each alternative printing process is crucial.
My approach is to get my hands dirty - physically work to learn the technique well in order to satisfy its peculiarities. I don’t like to live a constant battle against technique, forcing it to bend to my needs. Instead, I like to see step-by-step the increasing tuning between it, the medium, and the photographic message.
While I love to work with alternative photographic processes, what really interests me are not the techniques as an end in themselves, but what they allow me to do.