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Born in 1972 she graduates in painting at the Ligustica Academy of Fine Arts in Genoa (Italy) with a photography thesis on portrait painting along with an interview with the poet Edoardo Sanguineti and at once it becomes a personal exhibition at the Genovese Politeama. During these years, contemporarily with her interest in portrait painting, a deep passion for the landscape is born a constant theme up to now which she analyzes in depth attending a workshop on photography of great format and she also attends courses at the TVU in London and at the Politecnico in Milan.
In 1998 she becomes a professor, teaching landscape photography at the IED Institute in Turin. She then teaches photographic techniques up until 2004 in Savona and Milan.
Meanwhile, she consolidates her professional path as a landscape photographer throughout  various territory campaigns. She has worked for important architecture and city planning offices and for public assignments among which 5+1AA, Ori+Arienti, Lombardy and Liguria Regions. She has co-operated in projects with themes that range from private gardens such as “the Hidden parts of Villa Sultana” to large campaigns on the territory like “The re-qualification of the Naviglio Grande”, “Railway dismantling area  of the west side in Liguria”, “urban and suburban landscapes” Crema, “Porta Vittoria Railway Station Area”. Various are the publications in books and journals, such as Area Domus, At Casa, Elledecor.
Up until 2010 she co-operates as a free-lance with important communication Agencies in Milan following the advertising campaigns of some of their clients and publishing on journals and newspapers like the “Corriere della Sera”, “Il Sole 24 ORE”, “Il Secolo XIX”, Amica.
From 2012 she has been dedicating herself exclusively to the artistic production investigating the relationship between human beings and landscape finding a dreaming dark nature, the intimate human fear about a landscape now far away and unknown. Alizia never stop work with analogic film and optical blanch.



“Like a sentinel who wanders in his own castle, the look of Alizia Lottero penetrates the intimacy of mysterious, hidden and then rediscovered landscapes. With fleeting intensity it goes through natural places as if they were interior, where the shades of green and the light patterns on the hedges define a particular perception of the world. From the author’s point of view, the personal dimension of space affects not only the home environment, but also the natural environment as a living environment, perceived by man as a dwelling place and internalized with both physical and sentimental connection. In this sense, in Alizia’s photographs, every green and luxuriant garden will take the shapes that the individual wanted to cut out of it, showing them in the unexplored undergrowth of his desires.”  DENIS CURTI


I have always searched for green, in particular gardens created to be place to live in, I look at them, I smell them and I lose myself within them, in a intense relationship of giving and receiving with the landscaper that surround me. I love doing it at night, when every banality is remolded by the darkness. For these reason, I search for spaces where black is central but with no emptiness, it is essentially a “not know” and from this potential of light, like an indistinct group of words poetry is born. Each  time i feel fear and dismay while I am waiting for the film to be exposed and at times darkness is so total that I set in myself with a source of light like as I were searching for something to hold on to. Here, all of a sadden, is the unexpected appearance of leaves or tree trunks never seen before, palm and yet trees that relete to one another in  a new, dreamy and different landscape. The bellows of my optical bench become a sound box, a multiplier in which emotions physically transit and pass through another dark space so as become perceivable at the end of the path, recorded in time.

Da sempre cerco il verde, in particolare i giardini pensati per essere luoghi davivere. Li guardo, li annuso e mi ci perdo, in un intenso rapporto di dare-avere con ilpaesaggio che mi circonda. Amo farlo di notte, quando ogni banalità viene rimodellata dall’oscurità. Per questo ricerco gli spazi dove il nero è centrale, ma non è vuoto, è essenzialmente un non-conosciuto e per questo potenziale di luce, come se da un indistinto gruppo di parole nascesse poesia. Ogni volta provo paura e sgomento mentre aspetto che la pellicola sia esposta e a volte il buio è così totale che intervengo io stessa con una fonte luminosa, quasi a cercare degli appigli a cui attaccarmi. Ecco allora il mostrarsi inaspettato di foglie o tronchi mai visti, palme e tassi che si raccontano in un paesaggio nuovo, sognante, diverso. Il soffietto del mio banco ottico diventa cassa armonica, un moltiplicatore di emozioni che vi transitano fisicamente dentro, che passano attraverso un altro spazio oscuro per diventare avvertibili in fondo al percorso, registrati nella memoria fotosensibile.

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