Biography
Federico Bianchi -Buenos Aires, Argentina, 1974- was born into a family (on his mother’s side) of amateur engravers and painters.
Following the musical inclinations of his father’s family –and in parallel to his other activities-, Federico was also a precocious bassist, guitarist and singer.
He trained in audiovisual techniques and ended up specializing in video, which offers a unique convergence between the rhythms and textures of sound and the fascinating principles of pre-narrative, image composition: the endless combinations of different balances, equilibriums and symmetries.
From that moment, Federico became interested in contemplating and recreating abstract shapes which lie latent in life itself but remain invisible to the naked eye, trapped as it is by the vertigo of day-to-day life.
For over a decade he led a successful career producing, directing and in multimedia consulting. Federico has received many awards in the field of broadcast TV and corporate communications, an Emmy award among them. His initiation to non-linear editing systems revealed the dazzling possibilities of image manipulation. But it was his participation in a documentary on Argentine photographer Aldo Sessa which triggered the start of his own journey as a visual artist. Having followed photography studies before, resuming contact with Sessa’s prodigious eye was a milestone for Bianchi, particularly in lesser-known, more abstract photographs, which reveal his masterly handling of light and his plastic quality.
While creating his own language through the eye of the camera and transforming our view of the world, Federico brings together multiple ways of learning how to look and poses a key invitation to the viewer: learn to see the unseen in that which is visible.
Statement
We are part of an immeasurable whole. We live on a planet adrift like a blood cell floating along an incomprehensible stream; a deep and transformative thought that touches everything. From the atomic to the interstellar, the simple notion of our chaotic existence, leads me to seek the unity of our disintegrated self.
Our vulnerable human condition is so fragmented and ridden with anxiety that often we need to reform and return to our center with energetic and purified balance. In order to heal myself from this anxiety I create contemplative pieces evoking unity and the infinite. I use the matrix of the human body as a brush. I call my work “body mandalas.”
I’ve been meticulously creating dozens throughout the years—perfecting my technique in model posture, lighting, materials, and post-production. Each body mandala is unique in its own way. They can be intriguing and complex at the same time. They capture the dance of light and movement in archetypal geometries; they summarize the image of the universe and give a mystical sense of oneness. They infuse a strong connection with life’s sacred geometry. This vision and artistic representation of my inner state is complemented by the viewer’s own interpretation of each piece.
Once again I confirm that the act of creation is limitless.
Fede