Italian photographer born in Chiavari (Genoa) in 1942.Photography wants to be first and foremost a result mental, cold and lucid, halfway between the historical tradition and the actual situation of the present." With these words Cresci tries to give a conception of the result of his photographic work in which, effectively, investigates historical credit, studying the objects that make up the cultures of the places that you agreed (mainly South of Italy), and at the same time digging into the present, photographing the people of the land, those who still have photos of their missing relatives in the chest, or the portraits hanging on the walls of the now already dead. Therefore, getting Cresci is to melt the photography of the past and of the present to be conceived as a single and does not have the difference between "photography" and "photography photography".
This need for Cresci reflect two intervals of time, past and present, is influenced by Ugo Mulas, which in turn borrowed theory of Niepcetook. To achieve this purpose, the Italian used the technique of color degradation, blurring the color from black to white, even to transparency, as in the photographs of some of its interiors of Barbarano.
But their mission does not end with the desire to achieve the tonal clarity, but in some of his works, as in the Movimenti and Autoritratti series, the faces of the characters that photographs are altered and their identification is almost impossible to determine; No, on the contrary, environments and the funds, which do not undergo any decomposition.
It's a more intimate picture, more internalized, more relaxed. A photograph that moves away from so-called photograph reportaje, whose most prized characteristics are the impact and the tabloid sensationalism. The work of Cresci is a premeditated and linguistic study of the photographic medium, which denies the existence of a time and space, in addition to not accept the color in most of his work.
In addition to be able to characterize Cresci photography by the absence of color, another aspect that identifies you and see you is the use of spirals, a figure that lends itself to confusion of the observer for his countless performances and for being in a field bordering the not understanding. Cresci introduces who sees your images, with the addition of the spiral, in a game where the mind has to do an analysis of what he sees.