Born in Arezzo in 1976, Marco is a visual artist and independent photographer. His education is characterized by a strong attraction toward visual arts but with a keen interest also in various disciplines.
This curiosity led him to study in several Italian and foreign institutions, including the University of Siena where he studied History, Art History and Aesthetics; the London College of Communication where he had access to a stimulating debate on photographic techniques and contemporary photography; and Goldsmiths College where he achieved a Master of Arts in Photography and Urban Cultures in the Department of Sociology, during which he was able to investigate not only the most recent social and photography theory but also widen his knowledge on urbanism, politics, bio-politics, economics, philosophy, cultural and human geography, media theory, theory of the body and affects, among other disciplines and many personal interests.
Since 2003 he has practiced photography as a creative medium useful for the development of a mature social consciousness as well as effective means of personal growth. In recent years he has exhibited and published his works in England, Italy, France and Canada. Some of his works have been purchased by public and private collections in England and Taiwan.
His travels through Europe, the Middle East, but especially long stays in Southeast Asia and England, allowed him to investigate the various aspects of urbanism and the morphogenesis of contemporary cities.
In his images he represents the urban traces of contemporary political, economical and social trends, making evident the close relationship between capital, power and space, which is deeply influencing globally the shape of cities and their suburbs and facilitating the emergence of phenomena such as the exponential growth in the size and number of cities, megacities and large urban conglomerates in Southeast Asia and, at the same time, contributing to the emergence of deep economic, social and spatial inequalities within the urban fabric, but also to impose pre-established ways in which people and the human and social body interact, socialize, develops and unfolds.
The interdependence and complementarity of “urban activities” and “industrial activities” leads the artist to turn to the relationship between power, sustainable development and industrial technologies. His images visually define the aesthetic relationship between the industry and the surrounding landscape and how the idea of the sublime – that traditionally is referred to as the natural landscape – has in the last century fully extended to the categories of the technical and technological “landscape,” thus establishing the categories of the “industrial” and “technological sublime.”
Within reportage photography he shows interest in human and animals rights; environment and sustainable development; politics of formation of economic and social inequalities; unequal distribution of capital and formation of poverty; migration flows of temporary workers and refugees; government surveillance and political protests; new cultures and urban rituals (entheogenic, tribal, raves); spirituality; mysticism; genders; sexuality, etc.
He conducted a detailed study on the relationship between reality, perception, intuitive and visual processes, moving from phenomenology as a philosophy of perception and combining ancient and modern monistic views of reality (ex. spirituality, Eastern rituals and religions, quantum theory, etc.) with visual theory.