A Roman by birth, Lorenzo Meloni has travelled excessively documenting the world with a piercing eye, reminiscent of the great photojournalism of the last two centuries. The narrative impact of his work has led him to become the youngest member of Magnum, the Photographic Agency that is known for the legendary Henri Cartier Bresson, Josef Kudelka, and Robert Capa, along with hundreds of photographers that have shaped the way we see the world.
At the age of 25 and after a short stint as an IT security engineer, Lorenzo decided to exclusively pursue photography and studied at the Scuola Romana di Fotografia. His first focus of interest was local gangs, rappers and raves. As his art quickly evolved, he moved onto the fights and struggles of the Middle East and issues like the Israeli-Palestinian war, Yemen, the “Arab Spring”, the fall of Gaddafi in Libya, the conflict in Syria and Rojava, and its consequences in Lebanon.
Following the tradition of Magnum greats, Lorenzo chronicles his own restlessness with a visual commentary of the places he visits. His powerful images provide an uncanny record of important events of our century, with a compositional brilliance and a maturity that is not telling of the artist’s age. His photographs of the Middle East are like a reportage of the absurdist drama that is war and loss.
If Journalism cannot bring the truth to the public, then Lorenzo’s aim is that at least it can offer a different point of view, a different angle of the events of human life, as pivotal as they can be for our evolution as species.
Lorenzo Meloni’s work has been exhibited at Italian and international festivals and it has been featured in the most acclaimed publications like The Telegraph, Time, Le Figaro, Vanity Fair, Internazionale, L’Espresso, and La Repubblica.
5 images and one question to photojournalist Lorenzo Meloni
I probably wouldn’t be even able to find the strength and the motivation to be in those kinds of situations without my camera. When my eye is looking through the viewfinder I feel like I’m protected and therefore able to push myself in certain situations. There have been more moments when photographing has taken a backseat and I chose to help, rather than take pictures.