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Giorgio Di Maio
Giorgio Di Maio
Giorgio Di Maio

Giorgio Di Maio

Country: Italy
Birth: 1963

Giorgio Di Maio is a graduate of Architecture. At the School of Architecture, he came into contact with two important influences: organic architect F.L. Wright, the Neoplasticism of Theo van Doesburg and Mondrian. Wright's Wasmuth Portfolio, published in Berlin in 1911 was Giorgio's constant companion in those years. He always came back to it, fascinated by its ability to lend harmonious composition to different spaces and their functions, in final plans that were unified and perfectly balanced. His first show was titled Colonie di artisti and was a historical study of three episodes from European architecture tied to the roles played by the patrons who promoted them. This first show was followed by Frammenti, Ombre, alla fine... L'amore, Basilicata, non è Napoli, exhibitions in which Giorgio Di Maio revealed some of the future distinctive features of his way of photographing: attention to the particular rather than to the exceptional, a reclaiming of the quotidian, the decay of materiality, the identity of opposites, the balance deriving from the tension and integration of diversity, a search for spiritual presence. In most recent years he has gradually withdrawn from his profession as an architect and starting from a study of Heraclitus has begun to devote himself to the pursuit of Hidden Harmony which is present all around us and is identified by means of the language of figurative arts vanguards. For the Milan PhotoFestival he exhibited his work Milan in harmony in April 2018 at Palazzo Castiglioni.

About Hidden Harmony
The project that I would represent is the mystical and philosophical roots of Abstract Art transmigration into the Photography.

The Art as knowledge tool to understand the sense. Going over the phenomenon, the appearances, searching for the law that create each event, for everyone also individual or being part of a whole.

Basically there is the rejection of materialism, the faith in progress and particularly the faith in the spiritual progress of the men helped from the artist which "has in himself a mysterious visionary force....to see and to show".

The photographer artist isn't a perfected camera who think that the knowledge and the experiences are only a replica of reality, who limit to reproduction of the exteriority, closed from the barriers of the phenomenon, but he know and must to express an ethical content which he gets from the sensitive data.

In the Photography the language remain the same, using shape and color like the musical notes that touch the soul when you press a key and the human spirit vibrate.

The research is the Harmony: to identify in the reality different elements in contrast with each other but in a unitary composition to create a mutual stimulating of the sense of balance and rest. The Peace.

The expressionism of Der Blaue Reiter started in the of age of the new spirituality. Instead the wars and the extermination camps comes. It doesn't mean that the materialism has won but only a wrong idea of the temporal date. We don't know how much time need to achieve the spiritual progress of the humanity, maybe thousands of years or more.

The important thing is that each era made a new step in right direction and in the contemporary era the Photography could be the most powerful means to give a contribution in this way.

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All about Giorgio Di Maio

 

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My grandfather fished there, and my older sister and I used to run around and catch salamanders and frogs.AAP: What or who inspires you?Artists like Collier Schorr, An-My Lê, Roni Horn, Robert Adams, Mark Ruwedel, Pieter Hugo; David Shrigley, Jennifer Dalton Ai Wei Wei; Richard Mosse and Liz Cohen. I’m inspired by artists whose work makes me think, those using humor in their practice, and artists who really put themselves on the line. Books and essays, movies and performance – I’m inspired by a lot of different people and things.AAP: How could you describe your style?The visual style of my work changes according to the subject – a constant is subjects or projects that can and do express a layered viewpoint, or pose a series of questions.AAP: What kind of gear do you use? Camera, lens, digital, film?While I sometimes shoot digital, mostly I work analogue, with a medium or large format camera. Lately that has meant using Ilford HP5 black and white film with a Deardorff 8X10 camera and a 300 mm lens.AAP: Do you spend a lot of time editing your images?For me, editing (by which I mean deciding what images are included in a series, not post-production) is at least fifty percent of the job. I spend as much, if not more time editing a series as I do producing it.AAP: Favorite(s) photographer(s)?Collier Schorr, Robert Adams, Rineke Djikstra, Zoe Strauss, Luc DelahayeAAP: What advice would you give a young photographer?Know what you want. Shoot twice as much as you think you should. Be prepared to shoot and re-shoot until you get what you want.AAP: Your best memory as a photographer?A number of photographs I made of some friends while we waited in a car for the ferry. It was cold out, and we were all inside, smoking. The images captured the moment and the subjects very precisely – although this was over twenty years ago, they still have an immediacy that thrills me.AAP: Your worst souvenir as a photographer?A little while ago I was shooting some portraits on a very sunny day, and forgot to flag the lens. The negatives l ended up with were completely fogged and unusable.AAP: If you could have taken the photographs of someone else who would it be?Either Robert Adams What We Bought, or Collier Schorr’s Jens F. Both books have a real hold on me – I’m completely consumed every time I open one up. And after years of looking at them, they still surprise and fascinate me.
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