Elena Carozzi
A time of formal ambiguity.

Elena Carozzi was born in 1979 in Merate (Lecco).
She obtained a bachelor’s degree in Decoration, and specialized in Scenic and Costume Design at the Academy of Fine Arts of Brera, Milan.

The opportunity to practice several different techniques allowed her to grow personally and artistically in complete freedom, creating interesting combinations of styles and forms of expression, ranging from photography to engraving, from painting to installation.
All that ignites creativity stimulates her interest but in particular, she focuses on the concept of body intended both as a physical and spiritual entity.

She participated in several group exhibitions of visual arts in Italy, including the Biennale of Contemporary Photography of Brescia, the Milan Photofestival, and the Dark Room Project Exhibition (analog photography festival) in Muro Leccese (LE).

She features collaborations with some independent theater companies with regards to design and manufacturing of scenics and costumes.

Elena puts continuous efforts in photography, for which she uses the technique of Bichromate Gum printing, an ancient printing process that dates back to the end of 1800. This fascinating technique gives her photographs painterly effects, separating her work from photography as traditionally thought of.
It is a process that radically denies standardization, as each image, made by hand, is unique and never perfectly reproducible, representing the dichotomy between reality and representation.

Elena’s interest in this technique flourishes in the period of academic studies, in particular thanks to the meeting with the Belgian photographer Jean Janssis, who was invited by Professor Ken Damy to give a lecture at the Academy of Brera on antique printing techniques, bringing its experience as a photographer and printer. This had a significant emotional impact on Elena, that says: “I remember falling in love with the vibrant materiality of his images, so much that I started learning it by myself, in order to participate in this endless experience of research and testing”.

The “Sub-Acqua” and “Soffio Vitale” cycles were born from the need of wanting to provoke estrangement in the viewer through the use of photography both as a representation of fragments of reality, and as the pictorial material with which reality itself is reproduced. For this reason, Elena says: “The feeling that I’d like to arouse in the observer is impression to look at existing presences, but at the same time results of an imaginative elaboration”.