Giorgio Di Maio was born in 1963 in Naples, where he holds a degree in Architecture at Federico II University in 1990.
Moving himself among F.L. Wright’s organic architectures and Theo van Doesburg and Piet Mondrian’s Neoplasticism, he realized as architectural design is an important value of signs’ semantic and of hidden narrative quality, that he could catch and enhance easily through the photography.
During his studies, in 1985, thanks to a camera, gifted by his mother, he understood the strength of the photography as mean of communication, used by Giorgio to take out a part of the reality from the reality itself, so independent from every external influence.
In 1992 he made his first personal exhibition, named Colonie di artisti, starting an intensive exhibiting season and also some research, at same time working as architect.
In 1993, after a training that involved him also in a restoration work in Sassi di Matera, he opened his own architectural firm in Naples.
Here, since 1995, he is also the director of the photographic section of the Franciscan Cultural Centre Oltre il Chiostro of Santa Maria La Nova.
1995: alla fine..l’amore. Suggestoni di fine millennio, Convento di Santa Maria La Nova – Naples
From the left: Matera, 1990-93; Bagnoli, 1990-93; Lago d’Iseo, 1990-93
Here he worked using the photography as result of his research also for the drawing activity, but he also worked on his self, thinking deeply about the visual language. Giorgio di Maio has often thought about the society and how this element could be woven to the architectural functionality and also to the compositional design of the photo. In this way, every kind of activity he has made became an opportunity for linguistic research, matched with a social function lived connected with his city Naples.
In 2003 he held a Professional Master Programme named “Fotografia dello spettacolo” by Silvia Lelli, at the European Institut of Design (IED) in Milan.
After that his interest went to the American Photography, trying to be every time updated accessing to the American Section of the Nation Library of Naples, one of the biggest in Italy. His attention, in particular, was to André Kertész, Ansel Adams, Minor White, Edward Weston, Alfred Stieglitz, Paul Strand, William Eggleston, the Farm with Dorothea Lange and Walker Evans. Also, even if in another style, Richard Avedon.
Between 2007 and 2010, he went through a research phase about Lucan (Basilicata) landscapes (Gallery: Nature), going closer to his mother’s homeland, exploring the rural roots and the different contradiction with the nowadays reality. So, going gallivanting among the countryside looking for the signals of the rural life survived to the development, he started using the digital camera, paradoxically. In this period his inner fight started also to give the right attention to nowadays problems such as the environmental matters, that will reach the maximum in the exhibition non è Napoli in 2011, a way to promote his city and to fight the local scandal of the rubbish.
2011: non è Napoli, Feltrinelli store – Naples
From the left: Piazza dei Martiri, 1995-97; Maschio Angioino, 1995-97; Palazzo Donn’Anna, 1995-97
Since 2013 his activity as architect slowly decreases to put the right attention to the daily philosophy studies, made his own to open his mind and to have the right theorical knowledge for the experience of the photography.
Going on his road between philosophical studies and art’s history, since 2016 he works on an online section of the Osservatorio Digitale magazine.
In these years he travelled between Naples and Milan to improve himself thanks to meetings and discussions, also deciding to move to the analog film camera.
Then he creates Armonia nascosta (the Hidden Harmony), from his studies, that is written with a specific modus operandi, aware of his reasons and purpose. Starting form Heraclitus, the Hidden Harmony show the transmigration of the mystical and philosophical roots of Paul Klee e Vassilij Kandinskij’s abstract art til the photography, transforming it into a growth process both spiritual and social of a man, who goes through the evidence of the visual data looking for the Hidden Harmony as it appears today.
Firsts projects that he realised are I senteri dell’acqua, Chiaroscuro (2013-2014), Feminine, Photokina (2016), going forward with Cristanesimo Arte e Paganesimo (2017), Correspondances (2018) and Milano in Armonia (2018), and all the pauses made to improve and studying the intangible in the reality’s places.
From Armonia nascosta projects:
In July 2017, Di Maio convey his research online, indeed he published a photographicphilosophic web site, having so many positive feedbacks, and he attracted the attention of some important international photographic magazines.
His projects participated to different local and national events, giving back different positive impression from the public but also from critics of the sector such as Roberto Mutti and Gigliola Foschi.
In 2019, in the Semiotic 3.0 essay by Professor Guido Ferraro, full professor of Semiotic and Theory of narrative at Torino’s University his research is inserted with those by Franco Fontana, Luigi Ghirri and Mario Giacomelli.
Giorgio Di Maio moves from a city to another, looking for the Hidden Harmony living in the nowadays reality.
written by Alice Traforti