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Mario Santoro Woith
Mario Santoro - Woith (born 1968 in Cuba) is an Italian photographer. He studied Visual Anthropology at the University of Rome “La Sapienza” from 1988 to 1993. He is a Todi (Umbria) and New York City based artist. His work has been exhibited internationally and is held in public and private collections and institutions. His Italian background has given him a very specific approach to Art. In his words: “anachronistic and oneiric”. The connection of art and handicraft is an important part of the Italian culture. As a result, he enjoys researching and developing new techniques and styles through a slow, sophisticated and exacting hand process. The “old fashioned method of connecting the brain with the hands without a computer in between”. Santoro Woith began as a classic photographer working in a very traditional manner, doing documentary, portraits and architectural photography. He has been photographing extensively since the age of 14. During the early years of his career, he also had experience in different areas of photography, such as photojournalism, architectural as well as stage photography.
==Experimental Photography (1992 – 2000)==
Early experimental work includes references to the tradition of reproducing monuments of art and he continues this tradition. Mixing familiar images of Italy with new mediums, he empathizes with the contemporaneous and his work continually challenges to encompass the developments in visual communication and technology.
In these years, he began an extensive use of photocopying machines and industrial machines mixed with photography. With these machines and techniques, he created gigantic works and installations - rolls that span meters. He developed many skills, working with at least 30 different machines (some of which were modified for his work) over a period of 20 years. He believes that photocopies are no less sophisticated than any other artistic printing process, and consistently encourages the documentation of artworks made with these techniques and the creation of public and private collections. These techniques, allowed him to “favor texture and variation overlaying the positive and negatives and multilayering colors and emotions”.
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