Michele Coccioli was born in San Pietro Vernotico (Brindisi)
in 1956 and lives in Casarano (Lecce). He got graduated in 1982 in Architecture
in Florence and works for Banca Popolare Pugliese. He is specialised
in designing banks, offices and stores, in interior design, in civil
architecture, in technical report and in the field of accident prevention
in construction sites.
In the 80’s he got in contact, for the first time, with the world of photography reading and getting to the bottom of specialised reviews and studying masters like Bresson, Strand, Bischof and Doisneau. In those years of photographic maturing, his search led him to the use of both intentional fuzziness and blurred subjects. His attention is focused on the social and scenic aspects of Southern Italy. From 1994, his production is the result of the visual stimulus connected to memory; his subjects are symbols and metaphors, namely messages and values to be drawn by light.
His picture story on Salento is based on the attempt of exploring and making clear whatever is obscure and fleeting, but above all, on finding out an intriguing dialogic relationship between the projection of memory and the dimension of contemporaneity.
At the beginning of his passion for photography, he loved to use the Leica M2 and M3, but then turned to M6 together with a medium size Hasselblad equipment.
He is increasingly interested in the hystorical, anthropological and architectural aspect of places. In 1997, taking the idea from Cristo si è fermato ad Eboli by Carlo Levi, and from poems of contemporary poets, he started his search in the lands of Lucania and Apulia. In his work, the play of lights and shadows, of light and non-light, brings to life the psychological reading and introspection of the subjects; deduces stories and impressions, narrating them as sequences and existential memories.
As a result of his picture story, in 2002, he produced his PugliaLucania, published by Electa and later exhibited in both the regions.
His picture stories portray several European and Mediterranean countries, Bosnia and Serbia during the post-war period, the Polesine, some UNESCO sites, and recently the atmospheres of the I Promessi Sposi.
From 1985, he contributes to Apulia, a quarterly review of Banca Popolare Pugliese.
His works have been reviewed by Il Corriere del Mezzogiorno, La Gazzetta del Mezzogiorno, Il Quotidiano della Basilicata, Il Quotidiano di Lecce, Fotografia Reflex and Gente di Fotografia.
In the 80’s he got in contact, for the first time, with the world of photography reading and getting to the bottom of specialised reviews and studying masters like Bresson, Strand, Bischof and Doisneau. In those years of photographic maturing, his search led him to the use of both intentional fuzziness and blurred subjects. His attention is focused on the social and scenic aspects of Southern Italy. From 1994, his production is the result of the visual stimulus connected to memory; his subjects are symbols and metaphors, namely messages and values to be drawn by light.
His picture story on Salento is based on the attempt of exploring and making clear whatever is obscure and fleeting, but above all, on finding out an intriguing dialogic relationship between the projection of memory and the dimension of contemporaneity.
At the beginning of his passion for photography, he loved to use the Leica M2 and M3, but then turned to M6 together with a medium size Hasselblad equipment.
He is increasingly interested in the hystorical, anthropological and architectural aspect of places. In 1997, taking the idea from Cristo si è fermato ad Eboli by Carlo Levi, and from poems of contemporary poets, he started his search in the lands of Lucania and Apulia. In his work, the play of lights and shadows, of light and non-light, brings to life the psychological reading and introspection of the subjects; deduces stories and impressions, narrating them as sequences and existential memories.
As a result of his picture story, in 2002, he produced his PugliaLucania, published by Electa and later exhibited in both the regions.
His picture stories portray several European and Mediterranean countries, Bosnia and Serbia during the post-war period, the Polesine, some UNESCO sites, and recently the atmospheres of the I Promessi Sposi.
From 1985, he contributes to Apulia, a quarterly review of Banca Popolare Pugliese.
His works have been reviewed by Il Corriere del Mezzogiorno, La Gazzetta del Mezzogiorno, Il Quotidiano della Basilicata, Il Quotidiano di Lecce, Fotografia Reflex and Gente di Fotografia.