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Workshop Director: Mimi Mollica
Where Mimi has been published:
The New York Times LENS, The Guardian Weekend Magazine, Granta Magazine, FT Weekend Magazine, Burn Magazine, The Independent on Sunday Review, Marie Claire ITA, Internazionale, D di Repubblica, among many others.
Mimi’s Awards and Recognitions
Observer Hodge Award 2005, Press Photographers Year 2007, Creative Review Best Photography Annual 2007, Sovereign European Art Prize 2008, Magenta Flash Forward 2009, PDN Curator Awards 2010.
Mimi’s photographic philosophy:
What I know is that observation comes before photography.
I was lucky enough to have been born observant and, quite frankly, I have always been obsessed by it.
For me observation is an act of love towards the world we live in. Observation can offer a direct link between our deepest intimacy and the disorderly flow of visual information that surrounds us everyday.
When I observe something that is beautiful, curious or funny I immediately feel the urge to share it with someone, a friend or the whole world. This is the reason why I took up photography in the first place and more precisely why I am so passionate about documentary (factual) photography, where observation is essential, as compare to all other types of photography.
Photography is for me about choices. When you frame, expose and process a photograph you have made already a number of decisions which involve perspective, direction and ethics, all of which involve a great deal of responsibilities.
But why we do this can also be identified with the human necessary need to communicate, to stimulate debate and to contribute to a pluralism of ideas and information.
Photography, in this perspective, is a democratic tool, although a very delicate one, malleable and subject to miss-interpretation but always a valuable testimony of our time.
What other people have said about Mimi:
A photographer not trying to imitate anything but really struggling to find a form to articulate something significant about his subject matter. And if you can do that successfully and you are working in the street then you will have also pushed the genre forward.
David Campany, Aesthetica 2010
In the way of all great, understated reportage, Mollica's work repays one's time and attention.
Sean O’Hagan, The Guardian 2009
He’s a very strong character who calls me ‘Mr Martin’. He’s been doing some great work in Dakar, Senegal
Martin Parr, Saturday Telegraph 2008
Mollica’s black and white studies, gathered under the title of Marginal Brazil, eke a bleak but lyrical beauty from this potentially desolate landscape.
His deceptively straightforward studies of Londoners refusing to be broken are worth more than a thousand political promises.
Keith Watson, Metro 2005