David Mozziconacci

Trying to define David Mozziconacci's photographic praxis is a perilous exercise, because each one of his works is presented like a special proposition based on eclectic contexts of production, and only links up with the others—herein lies the essence—in the precise nature of an eye cast upon them. The photographer pays heed to the signs of a humanity entangled in a collective programme which goes beyond it and sometimes denies it, and seems to have become involved in a project to capture things that withstand erosion, and survive the organization of life. So there is stone, and there are architectures and cities, like so many permanent elements. Bodies, too, often at work, with tired, concentrating faces. In his oeuvre we find traces of a globalized society which has built its project on mass production. Rooms for resting in (Siesta Rooms...), their worn floors coming from nameless factories (The Road), windowed offices in an anonymous tower (Employees), with workers working, posing (NYC) or dead tired (NYC Recuperation)... the world of labour is presented in David Mozziconacci's work like a place of daily wear-and-tear, a place that restricts humanity which, in spite of everything, remains on its feet (Ahn).