ABOUT
BIO
Simona Muzzi is a photographer and visual artist who lives in Bologna, but considers herself a citizen of the world. Born in 1962, she graduated in Architecture in Florence in 1990, but her artistic career took a different direction when, self-taught, she began to explore photography as a means of expression.
In January 2020, Simona exhibited her unpublished works for the first time at Paratissima Bologna, with a series entitled "Incidenti". In this series, she tackles the proposed theme with a powerful contrast between the selfie as a phenomenon of neurosis and digital narcissism and the dramatic scene of a car accident, where the victim takes a last selfie on the verge of death. This exhibition marks her public debut. Subsequently, in 2021, she exhibited again at Paratissima Turin with the work "covi-tude (covid-solitude)", a series of images taken during the first lockdown, which develop into a four-part narrative. Since 2023, her art has travelled across several cities, with exhibitions in Milan, the United Kingdom and Barcelona.
Before embarking on her artistic journey as a photographer, Simona had always documented the reality that surrounded her. Her artistic approach to photography changed in 2015, after visiting an exhibition on Helmut Newton, considered one of her mentors. It was in that period that she began to use the self-portrait technique as a means of expression, marking the beginning of a personal and artistic research. Since then, she has developed a series of works that range from boudoir nudes to conceptual and surreal photography, addressing contemporary themes with a free interpretation.
Her work is distinguished by the integration of video and sound. Each image is accompanied by an audio component, which can vary between melodies, instrumental pieces and noises taken from the real world. This synergy between images and sounds is fundamental in Simona's creative process, creating an immersive experience that amplifies the meaning and intensity of her works.
ARTIST STATEMENT
The self-timer technique is at the core of my photographic practice. I do not use it as a mere tool for self-portraiture, but as a means to explore and express the self. My creative process is immediate and impulsive, driven by an inner urgency that takes shape at the very moment of the idea, rarely days after its maturation. I prefer an essential approach: I choose the location, the dress or dresses, and I shoot without building elaborate sets, letting myself be guided by instinct and the spontaneity of the moment.
I often combine photographic works with a video with audio that reflects my creative process. I incorporate sounds taken from the surrounding reality, using "noise" as a disturbing but stimulating element, capable of interacting and amplifying the visual impact of the images.
My research is nourished by the influence of great artists, while distancing myself from them. From Helmut Newton I learned the art of dealing with fashion and nudity without ever falling into vulgarity, even if his maniacal precision in composition does not reflect my freer approach. I feel closer to Cindy Sherman, for the use of costumes and disguises, and to Francesca Woodman, with whom I share the exploration of the relationship with the body, sensuality, and the tension between presence and absence, alienation and introspection. The self-portrait becomes for me a continuous investigation of the self, an infinite search for answers destined to remain open.
In my work, fashion and memory intertwine. The clothes I choose are not just aesthetic elements: they carry with them affection and memory, linking me to the female figures of my family, such as my mother and grandmother, who are no longer with me. Through these garments, I make their influence visible in my life, contrasting my personal vision with the aesthetic canons imposed by fashion.
Finally, an intimate and recurring theme that runs through my photographic practice is my relationship with gender identity. The childhood desire to be a boy and the subsequent awareness of the good fortune of being a woman permeate my work. This duality emerges sometimes forcefully, as in the nudes, and other times subtly, insinuating itself into images that speak of growth, discovery and acceptance.