Giulia Mazza is a photographer and visual artist based in Bologna. Her visual language delves into the confused relationship between reality and subconsciousness, paying particular attention to the perception and interpretation of identity. Fascinated by dressing up and the powers of narration that it brings, she often uses self-portraits with the sole intention of using them as a technical tool for creating personalities.
What influences did you have as a photographer? What inspirations are there?
I don’t believe I have ever had specific influences when I started photography, I was mostly interested in giving form to the world I had in my mind and to understand how to define it in an image.
That world was undoubtedly formed from contamination acquired during childhood. While learning, I recognised it as being relatable and forming the structure of my imagination.
I am somewhat of a solitary person, I listen to and seek music every day, I observe others a lot, I’ve always watched many films and I work on projects alone and intimately.
I don’t like to give anything away before defining it first in my head and then in an image.
Masks feature prominently in your work. What do masks signify for you?
I loved dressing up when I was a child; I always enjoyed playing imaginary characters and making up stories.
Mask feature heavily in my work and are, for me, an essential tool to investigate as many personalities as possible but is also a critical method to expose the fragility of identity that is a sign of the times where virtual exposure creates a constant need for others’ approval.
Your work is often centered around perceptions of reality. How did this come about? What is reality to you?
My relationship with reality has always been a turbulent one.
This is why it was natural for me to take a different stance with photography.
I like moving in a dimension where I can develop a narrative connected to my sub-conscience and demonstrate how thoughts and behaviours are often influenced or filtered by society.
I often use metaphors as a representation style, leaving things open to multiple possibilities of interpretation.
I don’t like having to explain my work too much and find being given too much “instruction” to other peolpe’s work tiresome.
Your images are often reminiscent of a dream-like state. Can you recall a really weird dream you had?
My strangest dream is a reoccurring one.
Me swimming in the air, which is absurd as every time it is such a strong sensation it feels almost real.
In the dream, I have all the difficulties of balance, the fear of falling, the vacuums and then the excitement of finding the right way of getting even higher.
There is also a vintage cinematic film feel to your imagery. Would you consider experimenting more with videos? If you were to shoot a movie, what kind of a movie would that be?
I love the vintage style, I am practically always dressed in vintage, and I love the spooky, fantastic look and narrative that vintage things bring.
At the moment, I am still getting to know video…I don’t yet consider it a friend, I still need to bring it into focus, but I feel like it could become a part of the family.
If I were to shoot a film, it would be a mystery.
Are you working on something specific at the moment? What should we expect to see next?
At the moment, I am in a reflective phase.
I have images in mind for a new project, but it’s still all to be explored. We’ll see 😉