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Maurizio Esposito

Maurizio Esposito was born in Naples in 1982 where he still lives and works. Graduated in modern literature, in 2014 he completed a research doctorate with a thesis on female photographers in the contemporary scene. After working for several years with artists such as Raffaela Mariniello, Luciano Romano, Armin Linke and Johanna Diehl, in 2012 he went to the ICP where he follows Saul Robins, in the Regarding intimacy laboratory. In recent years he has exhibited his works in various exhibitions and museums, including: the MADRE museum of contemporary art in Naples (2011), the Forma Foundation for photography in Milan (2011), at the Centro di Fotografia d'Autore in Bibbiena (2012), resulting among the winners of the third biennial of young Italian photographers, at the triennial of architecture in Milan (2012). currently engaged in Antonio Biasiucci's Lab.

"Maybe one morning"

Maurizio Esposito, a researcher also active in the social world, used a slow-running device, a Hasselblad with a film back. A poem by Eugenio Montale in the background - Maybe one morning going into an air of glass -, together with a vision that blends imaginary and subjective traces, project on the screen a sort of theater of memory, elegiac and very delicate.

Perhaps one morning he explores the relationship between the eye, portrayed subjects and the perceived environment, tells the author's life experience, his questions about reality and vital relationships, leaving the word to the beholder. The places where he has laid his gaze represent the spaces of the soul, a geography of the intimate, inevitably the South, from Naples to Morocco. And then Mantua, the Dolomites or any place where relationships, emotional connections, push to arrive. In the foreground men and women facing the landscape, talking shoulders and in dialogue with the space, with that environment that is a sensorial extension of the soul. Esposito's choice falls on the portraits of his friends, leading to discard the images of the actors. The soul from behind opens your gaze, as in the series of one hundred and thirty figures from behind by Marialba Russo. Each image is a small optical box, guided precisely by posture, physical features, clothes of men and women who look ahead, denying themselves to the lens. They are the protagonists of the journey through time and space, subtly dilating the scene, tearing the screen, breaking and amplifying the trompe l'oeil effect. They start the transport in the usual deception, asking questions

according to the viewer.

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