Anna Maria Antoinette D’Addario is an Italian-Australian photographic artist and writer who explores forms of storytelling combining traditional documentary modes with photographic art practice. She is dedicated to the expression of social, environmental and humanitarian issues.
Her current work revolves around the investigation and resurrection of memory and the traces left behind in people and place.
Anna exhibits regularly and her work is part of various private and public collections such as the National Library of Australia and the State Library of NSW. She is a regular contributor to The New York Times and her work has been produced broadly in publications such as The New York Times Magazine, The Guardian, Vogue Italia, Internazionale, The Sydney Morning Herald, Il Sole 24 Ore, Vogue UK amongst others. She is a member of Women Photograph and part of their database.
A recent MFA Graduate from Sydney College of the Arts, University of Sydney, Anna also works as an educator participating in programs at various academic institutions and art based organisations.
Over the past years she has been committed to public arts projects and to the support of practitioners in the field acting as a curator, photo editor and deputy director of the Sydney based Reportage Festival together with photographer Stephen Dupont. In 2013 and 2014 she curated and produced numerous exhibitions, events and educational workshops for Reportage. The 2013 Reportage Festival was the largest edition of the event to date prompting engagement and discussion in the community. Alongside this she has contributed written content, co-edited diverse publications and continues to work as a photo editor and curator for projects and specific practitioners; collaborating with a range of documentary photographers.
Anna is a founding member of the Australian collective Lumina.
Anna Maria Antoinette D’Addario is an Italian-Australian photographic artist and writer who explores new forms of storytelling combining traditional documentary modes with photographic art practice. She is dedicated to the expression of social, environmental and humanitarian issues.
Her current work revolves around the investigation and resurrection of memory and the traces it leaves behind on people and place. Through it she also investigates questions of identity and belonging.
Documenting people, places, the self, through the creation of portraiture and conceptual photography as well as landscape that is drawn deep from within personal experience, I hope to create a space contrasted with memory, emotion and imagination.
Emotional Geography initially began as a poetic and cathartic exercise and has slowly taken shape, continuing to develop, into an ongoing portrait series.
Varanasi, Kashi, City of Light. Home to many elderly Hindu migrants that come to the city with the hope that when they die their bodies will be cremated on the banks of the river Ganga receiving 'moksha', liberation from the cycle of reincarnation.
In the past in India, the loss of a husband stigmatized a bereaved wife. Widowed women were not welcome to participate in religious ceremonies, considered a bad omen; they were often cast away ostracised from their communities.
This adopted belief common to Hindus in India is also predominant in Nepal and Bangladesh, with many widows from the neighbouring countries traveling far from their homelands closer to the Hindu holy cities.