Emilio Cresciani is an emerging artist and lives and works in Sydney, Australia. He graduated from Sydney College of the Arts in 2012.
His artwork explores redundancy and urban change. His interest is in objects, structures, buildings and the urban landscape, and in particular the increasing number of ‘non-places’ that fill our environment. Waste centres, derelict service stations, road works, car parks and abandoned factories. Beauty is found in these places of repulsion, neglect or obsolescence.
He is a finalist in the 2017 Bowness Photography Prize. He received a PhotoAccess Canberra Artist Support Package in 2017; was a finalist in the Chippendale New World Art Prize and the Agendo Art Prize in 2015, the 2010 National Youth Self Portrait Prize at the National Portrait Gallery in Australia and his work was featured in the People Gallery, National Geographic Magazine Photo Contest in 2010.
He graduated from Sydney College of the Arts in 2012 in photo media and has completed courses at the Australian Centre for Photography.
Solo shows include at Interlude Gallery, Sydney; Photoaccess Gallery, Canberra; GAFFA, Sydney; Museo Italiano, Melbourne; The Photography Room, Canberra; Carlton Project Space, Sydney; Mars Gallery, Toowoomba; and The Incinerator, Willoughby.
Group shows include the Monash Art Gallery, Melbourne; Kensington Contemporary, Sydney; Australian Centre Photography, Sydney; Verge Gallery, Sydney; and National Portrait Gallery, Canberra.
Recent media coverage of his art work has included the Sydney Morning Herald, Canberra Times, City News; ABC TV News; and the Daily Telegraph; the Daily Telegraph and Daily Mail.
His interest in waste has been inspired by Edward Burtynsky, Canadian photographer known for his large-format photographs of industrial landscapes and waste dumps; Vik Muniz, a Brazilian photographer who worked on one of the world's largest garbage dumps on the outskirts of Rio de Janeiro; and Chris Jordan's work on documenting the waste found in birds' stomachs on a remote island in the Pacific.