He studied photography at IED in Milan from 1999 to 2001
In 2003, after two years working experience at the Photography department of Fabrica (Benetton’s Communication Research Centre), he moved to England, where he started shooting for several music magazines and record labels.
In the meantime he develops different projects, from social reportage (Irish Travellers, Kosovar Refugees, Western Africa Witch Hunters, Hackney’s Homeless, Maximum Security Prisons in Italian North East), to entertainment (Sicilian Religious Ceremonies, Milan Porn Fair) and youth culture features (European Rave Parties, Mexican Punks, Dakar’s Hip Hop Scene).
In October 2015 he has a solo exhibition at “Outdoor Festival” in Rome, with his portraiture work, titled “Heroes?”
In March 2016 has a solo exhibition titled “Scratches” at Traffic Gallery in Bergamo
In September 2017 he publishes his first book “Appleby” edited by Contrasto. The same project has been exhibited at Forma in Milan (2017), at Cortona On The Move Festival (2016), at Vichy Portrait(s) Festival (2018) and at Traffic Gallery in Bergamo (2018)
“Appleby” has also been exhibited at MIA Photofair in Milan in March 2019
In January 2020 The projects “CCCP” and “Straight Outta Pikine” are exhibited at Arte Fiera in Bologna
His work has been shown at London National Portrait Gallery, Paris Photo, Photo España, Cortona On The Move, Portrait(s) in Vichy, Italian Cultural Institute in London, Fabrica in Lisbon and Treviso.
Among his clients are: Fendi, New York Times, Jeep, Louboutin, Rolling Stone, Vanity Fair, Sunday Times Magazine, Financial Times Weekend, El Pais Semanal, L’Espresso, D La Repubblica, GEO, M Le Magasin Du Monde, GQ, Les Inrockuptibles, Mojo, NME, Sportweek
Mattia Zoppellaro is now living between London and Milan
“Zoppellaro’s pictures show a total absence of awe and veneration. In front of the poet, the rocker, the cultural icons, he takes a necessary step: that of putting himself in a parallel relationship where the camera is often placed on the same line of gaze as the photographed subject. It is not technique, not cunning, but a natural attitude to look at the other, establishing a relationship of mutual choice”