Edoardo Cozzani (Roma 1993) began his artistic and creative journey in photography, moving to New York to study at the International Center for Photography. He remained there to continue his experimentation, which has led his work to evolve in increasingly multimedia and installation-based directions. His artistic practice today spans photography, installations, and ephemeral interventions in the landscape, as a means to investigate the relationships between human beings and the environment, and to explore potential integrations and symbioses between anthropic intervention and nature. Particular attention is given to the study of geological phenomena products of stratification and chemical processes that the artist often studies, analyzes, and replicates through the various media in which his practice unfolds. From this approach comes, for example, the idea of intervening in the landscape with temporary aluminum elements, using photography to document the integration between industrial waste materials and the natural environment creating a kind of archaeology of the future.
In his photographic work related to these interventions, Cozzani demonstrates a particular sensitivity in identifying natural textures organically formed through geological processes. From this body of work, the artist has moved toward a more sculptural approach, seeking to mimic or test the same biological processes by combining organic and industrial materials.
Cozzani’s approach to matter is inspired by the latest theories in scientific and molecular research, particularly assembly theory, which posits that our current concepts of life, living beings, and evolution are highly limited, given that every entity is the result of particles in constant motion, recombination, and rebalancing into new equilibriums. In this sense, Cozzani’s material and photographic topographies explore, in an avant-garde manner, an optimistic vision of an alternative and process-based synthesis between the organic and the industrial, the natural and the artificial thus dissolving the boundaries between anthropic and natural space.
The aesthetic and environmental presence of his works especially in their recent integration with light and surroundings has gradually allowed the artist to intersect his practice with the fields of design and architecture.
Despite the rapid evolution of his work in recent years, Cozzani’s practice still appears to be in a phase of research and development, seeking ever more refined syntheses between the aesthetic and scientific spheres, while deliberately avoiding the risk of falling into mere decoration.