My practice investigates the tension between visibility and erasure, presence and disappearance. I am drawn to acts of obliteration, appropriation and transformation — gestures that challenge the authority of images and the permanence of cultural symbols. Through photography, painting, and modified ready-mades, I explore how the erasure or disruption of images can generate new meanings, turning loss into creation.
Iconoclasm lies at the core of my work, not as an act of destruction but as an aesthetic and philosophical method. By intervening in existing visual materials — such as found paintings or photographs of cultural sites — I would like to underline the active role of the viewer. My process often involves both physical and conceptual manipulation: concealing, layering, or cropping images to subvert their original logic and question what remains visible or knowable.
My photographic series functions as an appropriative act rooted in the museum context. Within this environment, I question institutional authority by redirecting attention away from conventional focal points toward the overlooked peripheries — revealing what the institution itself leaves unseen. This shift of gaze destabilises habitual modes of looking and reframes the surrounding space as part of the artwork.
What interests me most is the residue of removal — the ghost of what once was. Absence, for me, can speak as powerfully as presence. In an era overwhelmed by imagery, my works seek moments of silence, rupture, and reflection. Each piece becomes a meditation on perception, knowledge, and negation.
I approach found artworks as palimpsests — surfaces where new gestures overwrite, converse with or contest earlier ones. The covered or hidden areas reclaim the centre stage, embodying a poetics of loss, longing, and the dissolution of visual integrity. The dialogue between two artists, separated by time and context, creates a hybrid composition where what is missing holds equal significance to what remains.
I am fascinated by artistic acts that test the limits of creation and position art as a space for critical and subversive thought. The radicalism of iconoclasm, in my view, opens essential questions about the meaning of artistic production within its social, economic, and institutional frameworks.
Ultimately, I see my iconoclastic practice as a metaphor for the mechanisms of power that shape perception and induce blind spots. Yet within this critique emerges the possibility of renewed vision — a polysemic space where meaning remains open and the viewer becomes an active participant in its completion.
Featured collections
Discover a selection of my most recent and impactful photography collections. Each collection represents a unique exploration of themes, techniques, and perspectives.
Landscapes
Explore captivating landscapes from around the world, each telling a unique story.
Urban scenes
A glimpse into the vibrant and ever-changing tapestry of urban life.
Abstracts
Delve into the world of abstract photography, where form and texture take centre stage.
Portraits
Intimate and evocative portraits capturing the essence of the human spirit.
About me
I am Gianluca Cosci, a visual artist based in Brussels. My passion for photography drives me to explore diverse subjects and capture unique perspectives. Explore my journey and artistic philosophy on the 'About Me' page.
Exhibitions and publications
Stay updated on my latest exhibitions, publications, and interviews. Discover where my work has been showcased and read insightful articles about my artistic process.
"Gianluca Cosci's work is a testament to the power of visual storytelling. His photographs capture the essence of a moment with striking clarity and emotion."
Art Critic, La Vanguardia
"His ability to find beauty in the mundane is what sets Gianluca apart. Each image is a carefully crafted piece of art."
Editor, Photo Magazine
"Gianluca Cosci's exhibitions are always a highlight, showcasing his evolution as an artist and his unwavering commitment to his craft."
Curator, Barcelona Arts Council