Alessandro Fronterrè was born in Syracuse (Italy) in 1993. In 2017 he graduated from the D.A.M.S. (Disciplines of Arts, Music and Entertainment), at the Faculty of Literature and Philosophy, at the University of Bologna, with a thesis on Photography and Surrealism.

Since adolescence he shows a natural inclination towards art, in particular towards photography and poetry, two different forms of expression through which he expresses his vision of life, essentially based on a illusoryly dualistic conception of existence, however perceived by man as a field of opposing forces that clash and tend to reconciliation. Starting from this clash, from the illusion of ​​a never-ending opposition of vital forces in the world, that his interest in photographic art grows and makes its way, intensifying, over time, running deeper and deeper. Since, what is at stake here, is the very statute of the photographic tool and its suspended nature between the return of “the true” and that of “a reality” of the reinvented world. The continuous swing between the external world and its deepest essence become the essential core of his work. The physical world and the world of Ideas are therefore witnessed by the other, with the main intent to show how photography can’t be reduced to a mere reproduction of the surrounding reality, but of how it rather transcends it, thus becoming a mediator between the real world – matter – and spiritual – the pure essence. Because as he says: «Everything aims at a point of no return, towards the overcoming of the limit, beyond conflict, beyond duality, beyond the certainties of matter, in a place where everything is love, quiet and reconciliation».

This strong interest in art has led him over the years to attend photographic studios where he learned and studied the art of photography, never giving up the technical steps of development and printing in the darkroom.

Studies that proved indispensable, and allowed him to recognize the needs that had pushed him towards photographic art, an approach that has become increasingly aware. From this awareness  he matured into a particular “approach to looking at things”, which allowed him to find out the possibilities offered by the photographic tool, but also its limits. From this starting point, identifying the “limits” he looked for other possible ways and he has identified one: he has totally changed the register and has increasingly aimed at the dematerialization of reality.