Born in Milan April 30, 1974 at The Institute for The I.P.P.A.I childhood, it is adopted by the family Fossati July 27 of that year.
During childhood often accompanied his father during the photo shoots and adolescence decides to follow in his footsteps, entering already 16 years in the FOTOSTUDIO FOSSATI management.
By true passion, intense, to the Italian History and Art, as well as to the great artists of the past with their paintings as windows facing the past comes the desire to stop time in a photograph.
By his father and other members of the firm soon learn to manage the world of work and to live the photography not only as a material gain and money but first as an internal shudder that flows on sheets of white paper which become images.
Learn on the field less and less patient and more mundane way of understanding photography in the common people.
“There is no art without patience and confidence. THIS WORLD IS IT SO DEVOTED TO BE WATCHING YOU FORGET TO LOOK REALLY!”
So too, in the example of the father seeks to educate customers to the beautiful Photographic Art, instructing with patience and passion even the most ardent supporters of the banal photograph or better known as “Snap and Go”: that is, devoted to annoy the sufferer with tales of amazing things and yet not present in their photographs.
He immediately decides that it is better a customer photographically empowered, many customers without a certain photographic destination.
Participate in courses and seminars devoted to educating photographic ordinary people to the knowledge of ‘Italy, the beauty and the respect of the places to be preserved, which photography can not refuse because “time” machine that will travel the future generazioni.Questa series meetings greatly Giorgio determine the desire to be a world first as schematically flipped and revolutionary within the photographic framing, then just noticing the arrival of the photographic world in this abstract and fantastic dimension, escape and redemption of essentiality ‘framing hard-edged, without intrusion and respecting the “true” color. This gives rise to the obsessiveness to the perpendicular lines of a background with respect to ‘image and profile of photography that he snaps.
Search stubbornly with his photographs, that echo far footsteps left the building Vasari town; studying the point where they began to design with the need for physical well-being of those who then happened to be living in their creation. And not just to give the world an aesthetic exercise for its own sake, as with certain architects of overpaid today and entire landscapes killers.
Because George breaks in his photographs, the trivial geometric cutout usually of particular architectural effect, confusing and does not tell anything about being naked, out of context and an end in itself.
Giorgio demands that the photo touch-up is essential, as it was in the early 1900s, as “..the he touched the photographer’s great-grandfather!”
After passing by a photograph very “baroque” in the early years of digital, and then essentially intimate in the early years of this decade, with portraiture and landscape shots today it proposed as original and really old, decides to return to the old, to the whole of ‘ harmony.
In an obstinate and contrary to tell the truth and not the false magic of representing the world with the subjective idea, limited to the photographer’s point of view.
Leaving the world to talk about the voice inside of his photographs.
Why he chooses to enter the world as opposed to the Four Thirds Olympus, to return even technically to photograph with the lightness and speed of an object light car segment and quality, but with a warm narrative format, ancient and therefore true.
A kind of return to his first steps, in 1992, then, however, with the lens of a Hassenblad little fast and heavy in his hands.
Because today to be truly maverick just not. Because today the norm is the real nonconformist.
Documenting why this collective madness of appearance is easy, and leave it to the individual’s personal history has taken a duty that goes beyond just document it.
Often the ridiculous is the only thing that remains of our ideas, our fashions, our past beliefs.
And you can find it in a photograph.
As a mark of our quick earthly passage on the sands of time