A skilled, self taught draftsman, he remained an amateur and semi professional image maker for years while pursuing other interests and careers, as a filmmaker and scholar (he almost completed a Ph.D. in Film Studies) installation artist, and more recently as an advisor in International Studies.


Rino Pizzi’s photography is eclectic in nature, his work ranging from environmental portraits to abstract work, both in color and black and white. He now works exclusively with digital technology, but with a nostalgic eye for the textures and richness of film. He devotes much time to post production with Photoshop CS3, converting most images to monochrome, and correcting tones to reproduce as closely as possible the qualities of a large format B&W film print.


Rino Pizzi has travelled and photographed quite extensively in India, Japan, Australia, New Zealand, Italy, France, Belgium, Great Britain, Switzerland, Germany, Canada, Mexico and in many locations in the United States.


His images have been published in performing arts programs, newspapers, magazines and on websites in the US, France, Finland, Germany and Belgium. His fine art prints are in the collections of Deborah Hay, William Nemir, Danièle Massie and Debra Alexander Nesbitt, Emily Little, Leslie French and Cesira Vita. His work was recently commissioned by Mark Holzback and Dana Friis-Hansen, by the Deborah Hay Dance Company, by performing artist Beverly Bajema, realtor Carrie Bills, The Austin Museum of Art at Laguna Gloria, and business consultant Anna Carroll.


Rino Pizzi is an Italian national, permanent resident of the US. He lives and works in Austin, Texas, where he has resided since 1985.

ABOUT RINO

PIZZI

Rino Pizzi grabbed his first camera, a plastic Ferrania 6x6 at the age of 10, mostly driven by his fascination with the device itself--a Christmas gift from his dad’s bank. He soon found a purpose for his new toy--to capture his cat in mid air, during one of his usual jumps from the floor to the top of a tall bookshelf. In his mind, the results were stunning. His subjects grew in variety quite soon, including occasional portraits, landscapes, odd objects, and various instances of city life.

Although initially the results were less than encouraging, his father, a very advanced amateur, gave him advice and helped him  learn darkroom techniques, studio lighting  and more. When Rino embarked on his first trip abroad to England, with his beloved Pentax Spotmatic II, he recorded his experiences with a photographic travelogue which was a great success among family and friends.

I have spent many years of my life thinking, writing and commenting on images that were often as distant from my personal experience as they were from my history and geography.


As I became more driven to produce images rather than inscribing them into existing frames or modes of perception, I understood that my wish to associate them with concepts and narratives is most likely irrelevant. Not because I no longer believe in the power of language and concepts in relation to the visual arts, but because as I produce images I feel that I am a viewer among others, and that I cannot claim any authority on their meaning or the nature of their origin or purpose.


I can only offer my opinion in relation to my work and to the viewers’ perception, and I will be glad to provide technical details—from capture to the final prints—to those who are interested.

         

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