PROCESS PROCESSED W/ GIANFRANCO
When the pandemic began, Peruvian photographer and art director Gianfranco Briceño's primary work in fashion editorial photography was no longer possible in a way that felt authentic to him. "I had no way of photographing people, and the idea of doing webcam photoshoots seemed bad. It was a good time to look deeper at my own work."
"FOR MANY YEARS, I WORKED IN FASHION HERE IN BRAZIL, MAKING CATALOGS AND EDITORIALS. AT THE SAME TIME, I'VE ALWAYS PRODUCED INDEPENDENT PRINTED FANZINES WHERE I PUT MY MOST AUTHENTIC WORK, FOCUSED ON THE NUDES OF THE QUEER YOUTH THAT SURROUND ME."
Gianfranco's fanzines are beautiful collages where his photography, drawing, and painting can not only co-exist but envelop each other to form one cohesive work. When the pandemic hit, and he found himself examining that work, he began to evolve his painting skills. "At the time, I sold several paintings and even drawings, but for me something was missing in this area that I was exploring, so the idea of transferring my drawings to a ceramic surface was automatic. I started researching and spent another year studying ceramics and all the possible ways to give a 3D life to my drawings and my ideas."
Gianfranco began incorporating the male figures he used to photograph into his clay work. When the world began to reopen and his editorial work was again possible, he brought those same models back to feature in the campaign material for this new work. "In my view, it is at this moment that a circle is created between a piece that begins in clay and ends when I create an image of the finished piece with the same model who inspired it."
Of his newly released moon jars, Gianfranco says:
"WITH MY CERAMIC WORK, I VISUALIZE EACH PIECE AS A PHOTOGRAPH. IN MY MIND THERE IS NO POSSIBILITY OF CREATING A CERAMIC PIECE WITHOUT SEEING A HUMAN FIGURE TELLING ME SOMETHING. THE BOYS AND SCENES I DRAW IN MY CERAMICS ALWAYS HAVE AN AIR OF EROTICISM, SEDUCTION, MYSTERY, POSE, OR CONTEMPLATION."