Vincent Teriaca

Vincent was born in New York on January 15, 1965, and he first entered the world of photography at the age of 13, when he took his first photographs in the borough of Queens, and soon realised he had discovered the passion of his life. His first equipment was a Kodak instant camera and a Rolleiflex tlr camera, both bought on Long Island, from a market stall. His very personal process of refinement and technical development began, or perhaps we should say that it continued on a more conscious place, when he took a course in Photography at Lindenhurst Junior High School, laying the foundations for a process of refinement that later had two more important stages. In 1999, he attended the School of Visual Arts (SVA), also in New York, in order to improve his understanding of techniques and of lighting inside and outside the studio, and in 2000, he took a course in fashion photography at the European Institute of Design (Babic/Meriggi) in Milan, studying graphic elaboration and photo retouching. But like so many artists, he discovered that what he thought would be his final goal, was in fact the start of a new research. Vincent reached full professional maturity, at least in technical terms, but immediately realised that this goal did not necessarily guarantee a sense of intimate personal satisfaction with his work, or with the results that it produced and expressed. His restlessness and creative urge resurfaced, having never been entirely subdued, expressed in the form of a powerful impulse, or perhaps a lifesaving demon, which led him along the road of methodical investigation and reflection, as he searched for his latent originality, and the ways, issues and language necessary to bring it to life and make it flourish. He started to study again, perfecting and refining his skills, exploiting the new opportunities for expression provided by digital elaboration, and the use of a Nikon D7000.
He was influenced by contemporary artists, particularly Haring, Salina and Whorhol, and describes himself as part impressionist, part abstract and part pop, according to a very personal alchemy, which was fuelled by an important discovery, when he moved back to Italy with his family in 1982. Vincent's eyes and sensitivity were awakened by the cultural and artistic dimension of the Piedmontese capital first of all, then by the rest of Italy and finally by the whole of Europe, and he was moved to capture and interpret these new historical, cultural and natural horizons, so different from what he had known in New York, and to communicate them with his camera. It was the start of a powerful new passion and an overwhelming interest in any form of expression, whether it represented a dimension of objective reality, was conveyed by sculpture and architecture, or, obviously, by the genius of the great masters of painting. These were the elements that influenced his work, which embraced colour and black and white, the results of which can be described as pure art. Art in which the concept of the photograph, as a technically exemplary composition no longer exists, or rather becomes transparent, rather like the lines on a musical score which, although they support the notes, cannot be called music. Although it is sustained by very sound training, the texture of his photos does not imprison their essence or fossilise it in the formality of the expression (just as Caravaggio's technique did not mortify the light), and they come to resemble paintings. We could say that, while some ancestral beliefs claim that the photograph steals the soul of its subject, Vincent's photographs bring that soul or that sense of the moment back to life, making it more perceptible and very clear, in the features and characteristics of a very recognisable personal style. If we really wanted to classify this style, we could say that a similar stylistic and methodological training, and his personal research, has in the end excluded the option of hyper-specialisation of his tools (lens and film), favouring experimentation with any means that could effectively give visibility to his subject, whether an image, a sensation or an atmosphere, all entirely free of staticness, to celebrate and fix the movement of life and the dynamism of