“The Creative Gesture” Photograph by Flavio Gallozzi

Flavio Gallozzi is a professional photographer for more than thirty years, started his career in Milano. Besides the commercial work, Flavio experiments his photographic skills and shoot fine art photographs which he has exhibited in London, Italy and Japan. Flavio Gallozzi had been in love with Japan for very long time, he loves the culture, the art and the tradition. The first contact with the mysterious world of Japan was in the 70’s during high school, when he had a Japanese teacher who introduced him to zen calligraphy and Japanese art, that was the seed to grow into love for Japan for many years, up to the moment he married a Japanese woman and is still growing deeper. Thanks to her, Flavio has the luck and privilege to experience the real Japanese life and culture, to understand and absorb the tradition, being a privileged witness of the act of creation of the artist performing for himself and not a curious tourist or a cold documentarist.

The hand is the media that make real the thinking and the soul of the artist, the action of creation is Captured but not freezed in his images, showing the magic moment of creation of art. He focus his work on traditional arts, like calligraphy, pottery, music with traditional instruments, dance, tea ceremony, martial arts, etc.

Flavio Gallozzi is a photographer that has argued that the art of photography is the art of space making.

Totalising his career and the view-space he has become the unseen substance of the modern photo documentary; the photographer’s role is to articulate it through an interaction with the form and representation. Together the dual aspects of his system, the structured order of the elements and the dynamism of the subject, constituted a unity and the substance of the photograph space. A small element or an object could capture this concept with a clarity and abstractness that one associates with his work.

The careful intention to establish a plan, section and module goes hand in hand with the spiral links of open and enclosed space up through the structure of the photograph. The careful display of his photos shows how Gallozzi developing the same themes in a more challenging context plan is a sequence without missing, the structure and the proportions of the original plan sections. Of this, as all the photos, is based on the equilibrium and the measure associated with order and harmony. The resulting compositions of the photo interrelate and define a systematisation of the space. The subsequent composition is implied by the plan recurs on the interiors displays, doors, gates, instruments and subjects in composition. The inscribed photo of wall, panels, and other elements that bound rooms and subject in a celestial knot. The creative energy that he embodied is intended to activate the space and imply a new and modern dynamism of the photography.

Gallozzi is successful, though, in creating a similar link among the spaces within the body of the subject. The use of the Japanese context and the concept of “national treasures” artisan elevated to supreme excellence’s, that are stubbornly traditional, and  generate a spatial and social movement within Japan and that remains constrained by discreet interest, passion, and sensitivity to their work by their co national. Only the small objects sculpted, the calligraphy, or the practise of the Japanese sword makes, the tea ceremony… is a space interior to its structure in a way akin to Gallozzi. While the implications of a written theory never are fully realised in the construction of his photo compositions, the theme of spatial dynamism remained a tantalising speculation in his own work.