Mario Geniola seen from Bruno Simoncelli

We think many photographers, having a personal style and showing a very expressive world, are able to suggest and act with full powers an analysis and reflection of harmony. That’s why they have always been looking at the American photographers as supreme models in which they founded an exciting synthesis of photographic beauty, refinement and taste.

Images had to be intended not only for their aesthetic result, but also for what they meant, for their ideal conception, for their obvious criticism to a specific tradition, for their capacity of evoking lively moments of discussion.

It is well known that from the “Californian School”, born about the magazine “Openings”, there were born talents which have imposed themselves in al the cultural circuits: Edward and Brett Weston, Ansel Adams, Minoe White, Henry Callaghan, while from the “School of New York”, which is the school of the “Vogue” and “Harper’s Bazaar” megazines, several personalities have jumped up to the limelight, like Richard Avedon and Irving Penn, only to mention the maximum exponents.

Since long time ago Mario Geniola have been looking with love to the work of these teachers’ objectives, before going it of embleé, to the difficult art-job photograph binomial.
And there is nothing to be cheerful: nothing arises lonely under the sky. Would you believe it! Under the sky so changeable and spring of the dark room!

From the “western photographers with the easel” he has gathered the changeable nature figurations, those arrangements which compose striking mass effects, from balances, delicate shades, image drawing architectures.

From the citizen of Manhattan he has learned the interior photograph professionalism: a general model of simple and however sophisticated use of style based on the laying, ononymous depths, on an intentionally way to compose faces and objects.

Such flus do not have quite weakened the Geniola’s inventiveness.
It seems evident that he wants to find out the perfect picture. This doesn’t mean slavish reproduction but vision’s praise, an absence reduction.
What interests is to dominate forms, dispositions, rhythms, contrasts.
To awaken and make subjective all the things that are intended as subject of attention.

Mario Geniola rarely participates in photographic competitions and in discussions about unprofessional groups.
In his “Frisa retreat” he listens, set apart, plenty of good music, pleasant aid to creativity which is a gift that turn into aesthetical vision object with no aesthetic at all.
Besides, he accepts with so much pride to be called, simply, photographer.

This profession, as Susan Sontag wrote, deserves attention and respect, equal to those granted to painting, literature, music and architecture, too.

Bruno Simoncelli