Winner of the “FACE PHOTO NEWS Festival” (Sassoferrato) – stage of the photographic circuit PORTFOLIO ITALIA 2012.
The series was exhibited in Salerno, during “CITTA’ MEDITERRANEE: SALERNO – VALENCIA”.
In the same year it was exhibited at the “CENTRO NAZIONALE DELLA FOTOGRAFIA D’AUTORE”, during PORTFOLIO ITALIA 2012, following the selection in Sassoferrato.
The series was also exhibited, from september 27 to november 4 2013, at “PALAZZO DEGLI SCALZI” – Sassoferrato (AN), during the “63ma RASSEGNA INTERNAZIONALE D’ARTE / PREMIO G. B. SALVI”.
“Imago Salerni is the result of a mistake, initially accidental, but after that deliberately pursued”. This is the way Massimo Napoli defines the outcome of his photographic research. An observation unveiling an intense expressivity urge linked to the necessity to identify his own style and his own poetry. The subject chosen by the author is deep-rooted in the history of photography, is subject of study and of reflections, it is object of in-depth analysis and topic of passionate discussions. Understanding one’s own city, penetrating its spaces, following its rhythm, unveiling its confidences, understanding its essence so that one could then tell his own subjective experience through one image, is a compelling ambition. Street Photography is perhaps considered the more universal and immediate language to represent the emotion of an encounter, to show how one is in tune with the word around him, to share grief and irony. When discussing the Street Photography topic, the figure of the famous “images à la sauvette” author always peers out from behind the corner, ready to warn not to misplace that fateful “decisive moment” in which alertness, discipline, sensibility and sense of geometry sublimely blend. Since the first few photographs taken for this project, the author has realised that he undertook a path that diverged from what was set from the start: the initial discouragement due to the fact of not having been able to follow Bresson aesthetics slowly turned into the astonishment of being able to recognise himself in his own images, to feel them relevant to his own time. This is how Massimo Napoli’s Salerno, suspended between reality and sentiment, takes shape, through a series of unique visions driven by a sensibility at last free to unveil itself.