After spending some years in London, he came back to Italy in 2001, where he began to build a personal artistic path that led him, in 2001, to participate in the exhibition “happiness. A survival guide for art and life”, curated by David Elliott E Pier Luigi Tazzi, at Mori Art Museum of Tokyo.
Since then, his attention has been focused on light as a necessary material for vision. In the centre of his work, he puts the interest for three dimensional space and light, and he has developed a research on mental image and the essence of subjects.
Fog or sunlight streaming through colorful curtains is just one of the light effects at the core of the artist Giovanni Ozzola’s oeuvre. Working mostly in photography and, more recently, video, Ozzola produces picturesque images that oscillate between the immediacy of capturing the ephemeral and the carefully constructed artifice traditionally associated with painting—all while evoking the five senses. In his three-dimensional practice, Ozzola looks at some of these same properties by using a variety of materials: neon lights to illuminate found objects from within, marble installations as backdrops for video projects, or slate slabs as surfaces for etching.
After spending some years in London, he came back to Italy in 2001, where he began to build a personal artistic path that led him, in 2001, to participate in the exhibition “happiness. A survival guide for art and life”, curated by David Elliott E Pier Luigi Tazzi, at Mori Art Museum of Tokyo.Since then, his attention has been focused on light as a necessary material for vision. In the centre of his work, he puts the interest for three dimensional space and light, and he has developed a research on mental image and the essence of subjects.Fog or sunlight streaming through colorful curtains is just one of the light effects at the core of the artist Giovanni Ozzola’s oeuvre. Working mostly in photography and, more recently, video, Ozzola produces picturesque images that oscillate between the immediacy of capturing the ephemeral and the carefully constructed artifice traditionally associated with painting—all while evoking the five senses. In his three-dimensional practice, Ozzola looks at some of these same properties by using a variety of materials: neon lights to illuminate found objects from within, marble installations as backdrops for video projects, or slate slabs as surfaces for etching.