Giorgio Di Maio was born in Naples, in one of the hottest days of the end of July.
He learns the passion of art and using camera from his father by that he starts to employ when he was child and on the frequent trips of his family. From his mother who has the Lucanian origin, he gets enough attention against the poverty and the sufferance in general.
He grows up in the rigenerazione giovanilistica e solare (juvenile and solar regeneration) period in the old Neapolitan traditions operated by the artists of great success like the director and actor Massimo Troisi and the singer Pino Daniele, who are introduced on an intense knowledge of the adolescents about Totò and Eduardo De Filippo.
He is graduated and mastered in Achitecture at The University of Naples Federico II.
He met two important loves here: The organic architect F.L.Wright and The Neoplasticism with Theo van Doesburg and Mondrian. The Wasmuth Portfolio which is published in Berlin, 1911, was the always-opened book during his university years, studied for the pressed capacity of the American architect to harmoniously composed different spaces and the relative functions in final unitary planimetrics, perfectly balanced.
His formation in the images is especially pictorial and derived from the analyses of the pieces of the figurative pioneers of the first of 1900s which pick up treating the surfaces from square for that which one is there, which two-dimensional plane. The point, the line and the colour haven’t defined like some more means with the things which are represented as object, but like the first elements of the figuration and their own autonomies, like that enchained between them in mode to express another content.
He stays fascinated by the personality and the life of artistic figures of this period, of all the different movements, which are faced with courage, with crude, with provocation, the society of their time and the dominant cultures, is becoming opponent to a materialistic vision to pick against the spiritual essence of the reality at their appearances.
His first exposition was Colonie di artisti (Colonies of the artists), a historical research of three episodes of the European architecture linked at the role from the patrons who promoted there.
They made follow Frammenti, Ombre, alla fine..l’amore, Basilicata, non è Napoli (Fragments, Shadows, at the end…the loves, Basilicata, is not Naples), indicates in which Giorgio Di Maio has already revealed none of them becomes the distinguished characters from his photographing mode: the enough attention to particulars not to the exceptional ones; the increasing the value on daily basis; the decade of the materiality; the identity of the opponents, the received balance from the tension and the integration of the diversity; the research of a spiritual presence.
In the last years, he progressively abandons the professional architectural activity and moves to the studies of Heraclitus, starts to dedicate to the research of The Hidden Harmonies, presents in real that are all around us to identify through the language from Figurative Pioneers.
More than his personal research, he works for the commitment of Publics Being, the companies and the private ones, services photographers to identify The Hidden Harmonies present in their proper ambiances of life or labour.
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