A technological development in the past decade have allowed for the use of the instrument –thanks to able authors whose talent evidence and expands the experimental and creative side of a fascinating means of expression such as digital photography- showing unlimited artistic and creative resources at high levels.


Edgardo Verzi, a versatile author born in Montevideo (Uruguay), where he lives and works, is a representative of an uprising trend that continues providing stimulating novelties and re-elaborations within the photography scenario, very active also in South America.

In the origin of his works, there is always a detail or a fragment of the sensitive world on which the artist comes to a halt and focuses his attention, his own gaze; deep in this attraction dwells an existential philosophy linked to the perception of a hidden reality claiming to be discovered and re-elaborated out of which the expressive means produces and discloses unlimited visual perceptions.  The fragments of the reality that attract Verzi may have been obtained artificially but they may also be found in nature. 

Suffice to think, for instance, of the series of photos taken for the video called “Adamastor” –also the title of a recent exhibition in Rocha, Uruguay- bearing witness to the attractive description of how the artist has strolled along the beach of La Pedrera in search of that precise fragment of rock, soaked in historical, mythological, geological and geographical meanings.


The combination of photography and the digital means being compatible for Verzi, he ventures on an incursion in experimenting with the photographic instrument in its manifold aspects, but always opens to innovative techniques of other means and artistic expressions.  Hence, the relation between photography and works of art is so subtle that it fades away giving free rein to absolute art.


In his very recent series of works called “Invisible Cities” -exhibited in Bologna on the occasion of the exhibition “Little Treasures”- once again we come across the subject of the city, a recurrent subject in his production, but also evidence of how Verzi is a full-fledged artist loving all forms of art to which he resorts for inspiration: music, literature, poetry, geography, history.

Another series of his research is “Urban Fictions” whose works have fascinated me and driven me to delve into Verzi’s artistic universe allowing me to hint different realities, intersections, labyrinths suggesting cities, metropolises, and architectures.


I have admired his works direct but I have personally met with this artist from who I have learnt the intimate and strong demand translated into his intense creativity: his works are born from knowing that there is not one single truth but various alternatives in our daily perception of the real world.  This awareness gives rise to his incessant wish to discover new visions, new realities, and new truths releasing other universes, other possible interpretations, at the same time parallel and diverse, of our ever-changing contemporary reality.


 (Paola TREVISAN, curator, Italy, june 2008)




…” las fotografías de Edgardo Verzi, despliegan una variada interpretación de fenómenos naturales como si se tratase de modelos intrincados y diseños espontáneos. Es la mirada del artista que, abocándose a un tema específico, recrea selectivamente el entorno. La precisión y la riqueza de las imágenes halladas, el diálogo que mantiene cada cuadro con sus pares y el conjunto, revela una estructura de sentidos que subvierte las durezas conceptuales del artificio para expresar un nuevo orden de sentidos.”


(Pablo Thiago ROCCA, curator, Montevideo,Uruguay, april 2006)





...”La principal virtud de Verzi es la investigación abierta, no exenta de un talante juvenil y renovador en el conservador ambiente uruguayo aferrado a la pintura y sus variaciones en la mayoría de artistas mucho más jóvenes. Somos Parte, su reciente exposición, es una buena señal donde hay un talento refinado de amplia cultura a seguir de cerca en sus futuros pasos.”


(Nelson DI MAGGIO, art critic, Montevideo, Uruguay,  2003)




...”The artists in Slippery invoke a flux between solid and liquid states in terms of their methods, materials and motives. They are magicians and conjurers, transforming experience into elements, often pointing to the body as a crucible by which these metamorphoses transpire. Smoke and mirrors conceal one origin to yield another.”...”Edgardo Verzi engages in a painterly process, manipulating chemicals and light through color photography.

As photographs they defy our ideas of documentation yet in a more residual way they document the photo-chemical and biochemical creative process.”


(Juliette COOK curator, Philadelphia, USA, 1999)



“ L’art rapproche les hommes, et votre présence à l’exposition du Pharo est l’expression d’une amitié à laquelle je suis très sensible. Sachez qu’au delà des qualités intrinsèques d’une ouevre de belle composition, le tableau que vous avez bien voulu m’offrir enrichit désormais le patrimoine marseillais.”


(Jean Claude GAUDIN, Maire de la ville de Marseille, France, 1999)



“A very clear suggestion is provoked by the creations of Edgardo Verzi, who starts with a painted surface of which he isolates and redeems, through photography, tiny fragments which are later documented photographically. He obtains products with an appearance that is equivocal, which is to say ambiguous, which is to say creative, from photographs of biological, physical and chemical processes taking place under an electronic ultramicroscope. Thus he builds an organic world, which reverberates and manages to sustain an internal dynamics that is what is most fascinating in them, apart from the revelation they provide by giving an aesthetic turn to a scientific spirit: his final results are of strictly pictorial vein.

“He obtains strange flashes, at times evoking rupestrian roughness or the disquieting mystery of phenomena we know are there even if we cannot see them.

“The originality of his creation and his results make him an artist to be taken into account.”


( Roberto de ESPADA, art critic, Montevideo, 1987)