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Based in Florence, Italy, Marco Gualtieri is a photographer specializing in architecture, interiors, and fine art. With over two decades of experience, his work captures the artistry and craftsmanship of architectural spaces, bringing them to life through compelling visual storytelling.
Marco’s artistic work has been showcased in solo and group exhibitions in Florence, Los Angeles, and New York, earning recognition from institutions such as the American Institute of Architecture. His fine art photography explores themes of perception, space, and environment, blending his background in cinematography with his photographic vision.
Marco has built a distinguished career as a professional photographer, working with renowned clients such as Artribune, Polimoda, Rossi Bianchi Light Design, Gabriel Scott, Munna Design and Ginger & Jagger, Haworth Inc., and Lincoln Center for the Performing Arts. His expertise extends to multimedia editing, with past collaborations including Daylight Magazine, Magnum In Motion, and Corriere della Sera.
As an educator, Marco has been an instructor at Florence University of the Arts (FUA) since 2016, teaching undergraduate students from international study-abroad programs. His courses span various aspects of photography, including digital and film photography, fine art printing, and street photography. Additionally, from 2021 to 2024, he taught photography and video at Polimoda, focusing on fashion photography, studio lighting, and multimedia production for both undergraduate and graduate students.
He holds a Master’s degree in History of Photography from the Università di Bologna and a Certificate in Photojournalism and Documentary Photography from the International Center of Photography in New York, where he was a recipient of the Director’s Fellowship. His academic foundation is further strengthened by a B.A. in Cinematography from the Centro Sperimentale di Cinematografia in Rome.
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Alberi - July 2021 - Solo Show – Corridoio Fiorentino, Firenze.
Enter Paradise - November 2016 - Solo Show – Corridoio Fiorentino, Firenze.
Month of Photography Los Angeles - April 2015 - “Group Show” – Santa Monica Art Studios, Santa Monica, CA.
Month of Photography Los Angeles - April 2015 - “As Above So Below” – bG Gallery at Bergamot Station, Santa Monica, CA.
5th Annual Art Walk – American Institute of Architecture Orange County, CA. - Agosto 2014 - Honor Award with a photograph from the series “On Second Glance”
American Institute of Architecture Los Angeles, CA. - March 2014 -“On Second Glance”, solo show.
International Center of Photography – New York, NY.- Luglio 2009 -“Present Perfect”- Students Graduation Group Show.
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International Center of Photography (ICP), New York — Certificate / 2009
Certificate in Photojournalism and Documentary Photography. Recipient of the Director's Fellowship.
Universita' di Bologna, Facolta' di Lettere e Filosofia - (D.A.M.S.) — M.A. / 2006
M.A. in History of Photography with Prof. Claudio Marra.
Centro Sperimentale di Cinematografia, Scuola Nazionale di Cinema di Roma. — B.A. / 2002
B.A. in Cinematography. Program coordinator director of photography Giuseppe Rotunno
Architecture, Interiors & Fine Art Photographer | Instructor | Multimedia Editor
Marco Gualtieri
Unintended landscapes, distracted landscapes: perspectives that silence the functionality of places, allowing the spaces and forms within them to emit signals that unfold into nonlinear thoughts. When observing such “surprising” subjects, photographs do not seek rules that might explain them, but instead suggest other, more or less plausible, explanations for the phenomena observed. In photographs, even people become places; and places are treated like people. Photography says: this place is not real, it doesn’t exist, but I was there, for a moment.
The charm of photography lies in its ability to define boundaries: the frame’s edge is decisive because it determines the selection of the image’s meaningful world. Within the frame, light distributes internal volumes, opening or closing perspectives that guide the gaze. Composition is essential because it positions the observer within the two-dimensional space. Once this structure is established, relationships, tones and contrasts, meanings, and interpretations are free to unfold within it.
With my back turned to the present, I photograph, looking toward a past I have no memory of (not yet, at least), as if it were a destination for a future that is constantly, instantly being unveiled.
Over the years, I’ve had the privilege of collaborating with
