I didn't know Riccardo Boldorini before he sent me a mail to show me his works. I have to tell you that I was immediately impressed by the work of this italian photographer. And I'm sure you'll appreciate as much than me.
Born in Milan in 1971, Riccardo Boldorini started his photographic activity in 1992 with the Murales in photography exhibit, a series of images on the walls of various European cities, Italy included.
From 1993 to 1995 he collaborates with a host of underground magazines, experimenting on black and white as a means of impact expression. Meanwhile his exhibits, mainly in Milan, lead to The Other Milan (1993), Portraits of Protest (1993), Ten Political Flashes (1994). Some of the most esteemed magazines, such as Il Manifesto and Il Corriere Della Sera publish his images.
From 1995 to 1996 he becomes part of the social photography group FOTOIMMAGINE, becoming more aware of the surrounding reality, and leaving the most abstract experimentation. This leads to two group exhibits on current issues, racism and work : The dirty face of Milan (1995) and The Voice of Work (1996). Experimental exhibits include at the time : Warme Kuche(1995), Images of Grazzano Visconti (1995), Stone Eyes (1995), Everyday life (1996), Danish Notes (1996), The monster (1997), Playground in the mist (1998), Solitudes (1998).
Starting from those visions, the artist obtains images in which reality and experimentation mesh – such is the case with Mechanics (Rome, Hall of the Teatro dei Contrari, 1998) in which parts of a body are compared to the devices in a steel forgery – to the point where photography becomes a profoundly interior expression, never giving up, as in a bet, on the desire to experiment : so we have Hanging on the Wall (Milan, Chapel of Villa Litta, 1999), a revisitation of B/W advertising posters.
Of late the search for new colors and effects finds expression in the use of a video and, from the sheerly photographic point of view, with the employ of different techniques : tungsten-coated films with daylight and chemical pollution to reach different chromatic choices. As a photographer he sets himself aside from the mass by refusing any digital retouch.
In January 2002, Riccardo Boldorini has collaborated to a master course held by Jacqueline Ceresoli at the European Design Institute in Milan, offering a photographic display based on the city’s new iconography.
In June 2002 he has taken part in the master course Organization and communication of the visual arts at the Fine Arts Academy of Brera, with a photographic series on the abandoned areas of Germany. He switches between artistic work and free lancing.