“My first “visual inspirations” date back to the days when I attended ENSAD in Paris, one of the French Grandes Ecoles, after moving from Italy to France in my twenties. We were among the first in this school to be trained in computer-based post production, according to the American study methods, and to learn to use the first version of programs such as Maya and Softimage. At that time my visual inspirations basically derived from watching Canadian and American comics and French cartoons, pure surrealism. As soon as we finished our courses and obtained the diploma, post-production companies came directly to our school to hire us … therefore I worked first on a Claude Zidi movie, “Asterix and Obelix vs. Caesar”, and then also on movies by [Luc] Besson, [Roman] Polanski and other important directors.
During those years, I was so engrossed in the stylistic possibilities made available by computers in post production that I also took part in the creation of experimental short films. Afterwards, while still working, I decided to resume my studies and I earned a Masters degree at the Sorbonne in Paris in Aesthetics and New Media.
My passion for pictures drove me then to the field of pure photography and, as I was based in NYC at that time, I took classes at the International Center of Photography (ICP) and I joined the studio of David LaChapelle. My background is highly inspired by contemporary French directors/artists or by surrealists like Dalì, but I also love the aesthetics of the visual effects of movies of the 50s. For example I truly admire Hitchcock’s aesthetics.
I love what is “unbelievable” in everyday life because life itself, for better or for worse, is always filled with twists and turns. This concept is very clear-cut in the “Unanswered Prayers” series: a dull trivial day is shaken by an extraordinary event which turns everything upside down. Here comes the flood… how should we react? The apartment becomes a metaphor for Noah’s Ark where the animals, as always, are able to adapt, they play with the water as if unaware of the danger, while the more farsighted humans try to exceed their limits and they even begin to fly. In my personal aesthetic vision I believe it is a primordial need to convey important messages (as in my case the changing ecosystem and global warming) in the simplest and most accessible, almost playful way, such as the pictures of the animals playing in flood waters in a modern Noah’s Ark.”
Anna Paola Pizzocaro