I was born in Naples. So, I’ll never be a New Yorker artist. I’ll a scugnizzo forever, someone close to “Sciuscià” by di Vittorio De Sica. Friends and football; the street. So many walks to see the gulf, as a lot of Neapolitans, felt in love with the own city. There were the years of Pino Daniele’s songs and Massimo Troisi’s movies. But I already known everything about the “knight of laugh” Totò and the playwright Eduardo.
The Neapolitan is a human that aspire to the passion. He fells the sun, the heat, the sweat and drugs his self with the incapacity to the balance. He must shout, sing, touch. Show his carnality. Also with explicit behaviour. He wants to enter in the point of the things. He has not prejudices. Only a selfish complex of superiority, believing that the essence of the life was created in the places in which he was born. And only for Naples was possible to expand to the rest of the World. But every time slighter and more educated.
After all Naples is a volcanic city. The sulphurous rivers come out everywhere. To the volcano solemn, alive and dangerous it’s possible to find inspiration. The heart fallen in love gushes hot lava, as the words searched by the poetries to the loved woman. If this finish, the Neapolitan song give us all the Sturm and drung repertoire remembering the disillusioned love, the cheating, the abandonment. The wound should be mortal, to avoid that could only hurt.
The reason why, even if I was born on a hot day of summer the 31st of July, I started to research an oriental felling, almost Buddhist, the Harmony, the quiet, the peace, the eternal stability, for the happenings in the life, to purify, going through the despair. The suddenly loosing and subsequent of the most beloved you had.
Being in front of the difficulties of the life and the awareness of you have to stay anyway even if you would like to stay not in the way someone decided for you, are the things that suggest to research the road of the construction of the equilibrium.
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
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