Call for Entries - AAP Magazine #8 / Street

Giorgio Di Maio

Italian Photographer | Born: 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 In most recent years he has gradually withdrawn from his profession as an architect and starting from a study of Heraclitus has begun to devote himself to the pursuit of Hidden Harmony which is present all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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