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Vincenzo Pagliuca

Born in Broni (Pavia) in 1980. His artistic research is aimed at the territory and the signs of human action on it. With particular places, with a strong symbolic value, he creates connections that he cultivates over time, long-term dialogues from which strongly internalized visions of landscapes and architecture arise.
His works have been exhibited in museums and festivals such as: the Copenhagen Photo Festival, the Darmstädter Tage der Fotografie, the Italian Center of Author Photography (Bibbiena), the Arcos Museum (Benevento), the Galleria del Cembalo (Rome), Villa Pignatelli - House of Photography and the MADRE museum (Naples), the Ulster Museum (Belfast). From 2015 to 2017 he was a member of the Lab \ for an irregular laboratory created by Antonio Biasiucci. In 2020, The Velvet Cell publishing house publishes its first book entitled 'Napoli Nord • Case Rom'.


Vincenzo Pagliuca carried out his research with a Mamiya 7, using color and a fixed lens, sifting through the entire southern Apennines, from lower Lazio to Aspromonte, looking for and making the shots in precise light conditions, photographing in the winter months and before sunrise. At the center of the image, in the essential construction process, are isolated houses, in some ways metaphysical attractors, immersed in the natural context. Those houses on the margins, often built without any ambition, other than to occupy or present the space of nature at the edges, random architectures, to which photography restores relationships, dimensions, balance.
The visual research is systematic and serial, he draws a rigorous and composite controlled southern geography that evokes the design of the German school. The sculptures of the common man collect signs and geometries, open to subjectivity and mental amplification, a landscape condition that reflects an interior topographical landscape.
The concrete communicates with the earth, the bricks and sheets interact with the trees and the grass, the tiles and windows speak with still faded skies, the geometries of the houses integrate with the difficult to control lines of nature. These houses, in the prolonged and dialectical gaze, one after the other, one together with the other, are the place of meditation and dreams, the set of a b-movie that nourishes the possibility of understanding space and define, think, view the complexity of man and of a territory proper to him.

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