We’re delighted to announce that a new tutor has joined the PhotoIon School:
Giulia Bianchi is a documentary photographer and photo editor specialized in portraiture, storytelling and book making. Her work has been published in The Guardian, TIME, La Repubblica, other magazines and books, and has been internationally exhibited.
(Photo: 6th February 2014, Hebron, a territory disputed between Palestine and Israel. Giulia is making large format photographs of ancient olive trees.)
She attended the well known PJ program of The International Center Of Photography in New York City, but managed to develop beyond the strict confines of photojournalism and find her own path of image making. She also attended the New York Art Students League to study oil painting and sculpture and she also studied philosophy, feminism and aesthetics at the Brooklyn Institute for Social Research.
Giulia’s work speaks of the best kind of restlessness a person can have: deep curiosity about people and their idiosyncrasies, and willingness to consider multiple facets of any question. She continued her long-format documentary practice, with an immensely moving project about Catholic Women Priests who have been ex-communicated by the Vatican, despite their spirituality and commitment to the church. Also, she embarked on complex and ambitious collaborative projects involving many different types of image-making procedures, poetry and memoir.
The dreams and symbols she encounters have become a strong element in this powerful and evolving body of work. Giulia is a keen researcher. People are drawn to Giulia’s enthusiasm and determination, so much that she can go into very unfamiliar territory and gain the trust of the people she approaches: for her last project, Giulia spent 6 months traveling among Egypt, Palestine and Israeli’s settlements.
We interviewed Giulia on May 27th 2014.
Hi Giulia! Why Photography?
Photography is the medium that forced me and educated me to critically analyze the shapes and appearances of reality, and organize them in stories.
I’m especially interested in the relationship between the machine and reality: a camera is a tool that, differently from a drawing, allows me to capture very fast something very close to what I see.
If I don’t see something I can’t draw it, but if I don’t notice something in a photograph, the camera is still recording it.
I photograph what I want to understand, looking for new thoughts through the analysis of images that, at least for a second, have been real and alive in my world.
Then I’ll start a process of re-elaboration through writing and painting.