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About the Artist Mazzucco

In fairness, not every artist can claim that they once appeared as themselves in an episode of one of the biggest TV shows in the world, yet that’s precisely what happened to Raphael Mazzuco back in 2011. And unlike a host of other household name celebrities, the iconic fashion photographer wasn’t transformed into an animated character with a cameo in The Simpsons. No, rather he played himself in season 8 of ‘The Big Bang Theory’; episode 94 for any TV trivia fans out there. But then this factoid is a mere entry on an immensely impressive CV which underlines what a creative tour de force ‘Mazzucco’ is. Widely acknowledged as one of the planet’s most influential fashion photographers, he’s also gained a formidable reputation as a contemporary figurative artist to boot; with many commentators and critics lauding his ‘singular eye’ and ‘captivating aesthetic’.

Works By Mazzucco

  • Memory In Silence by Mazzucco
    Memory In Silence
  • Love In London by Mazzucco
    Love In London
  • Freedom by Mazzucco
    Freedom



In terms of Mazzucco’s back catalogue, he assumed the mantle of ‘go-to’ photographer for a host of giants from the world of fashion and style, including Guess Jeans, L’Oreal, Ralph Lauren and Victoria’s Secrets to namecheck but a handful of his clients over the years. Mazzucco’s name amongst the fashion elite was cemented after rocking up in New York City, having previously garnered some serious attention within his chosen pictorial genre during his time spent working in Europe (chiefly Italy, France and Amsterdam). Subsequently Mazzucco’s snapshots of haute couture and evocative captures of some of the globe’s leading models in turn made it to the covers of some revered publications, such as L’Official, French & Italian Vogue, L’Uomo Vogue, Marie Claire, Playboy and Vanity Fair. However Mazzucco’s muses weren’t restricted to models down the years, as he’s had the celebrated likes of actors, Benicio Del Toro, Matt Damon, Susan Sarandon and Elizabeth Banks sit for portraits too.

With regards to when Mazzucco branched out into a more conventional - for want of a better word - compositional field (as observed today courtesy of his hugely popular giclee mounted limited editions), and this materialised in the aftermath of a 2-year photographic exhibition tour, whereby he showcased his camera-created portfolio on various stages across the world; taking in Milan, Florence, Melbourne, Hong Kong, Singapore, Los Angeles, Miami and New York City. With said exhibition being critically received, Mazzucco then set about creating an essay book which fused both photography and artwork. Collaborating with Mazzucco on this project was music impresario, Jimmy Lovine and a certain famous rap producer, Sean ‘Diddy’ Combs. Or ‘Puff Daddy/P. Diddy’ as he’s otherwise known these days.

Understandably a raft of style-led publications wished to focus their editorials on Mazzucco’s latest career juxtaposition, most notably the Wall Street Journal, The New Yorker, the New York Times’ Style Section and Paris Vogue (who cited Mazzucco’s more artistic digression as something which, “oozes sensuality and charm”). All of the above coming in the wake of Interview Magazine featuring Mazzucco’s new visual works, which he presented in the form of an exhibition hosted at his own Long Island home.

To paint a picture of Mazzucco’s preferred subject matter and genre delivery from a purely illustrative perspective, and it can best be described as a visual narrative which strives to graphically capture the very essence of the human form, set against a backdrop of stunning landscapes which bridge continents. Indeed, some of the backdrops favoured by Mazzucco are pictorially lifted from Icelandic glaciers, Vietnamese rice paddies and the Australian outback, and arguably everything else in between, such is the broadness of his geographical and emotional spectrum. Mazzucco then concentrates his artistic efforts on layering the narrative, courtesy of a unique fusion of paint, collage and hand-lettered text. What is perfectly clear in a typical Mazzucco iteration, and a naturally-occurring commodity which courses through his relatively new compositional life is that he’s a lover of just that; life itself. And moreover, wherever and whenever his particular journey takes him. Shaking the world of fine art up since his timely gate-crashing of the scene, Mazzucco’s work not only offers a new age of art, yet projects his own passion for synchronicity between subjects and scenarios, per se.

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