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In the visual work of Giuseppe Giannotti, the image asserts itself as a space of suspension and listening. Trained as a journalist, Giannotti transfers into photographic practice a rigorous and conscious ethics of looking: every body is a presence, every image a narrative, never gratuitous exposure. Photography is not conceived as a profession, but as a necessary language, capable of giving form to what words cannot hold.
Black and white, a radical and coherent choice, constructs an essential grammar founded on the relationship between light and the body. Light does not describe: it suggests. Shadow does not conceal: it safeguards. What emerges is a slow, contemplative temporality that invites the viewer into a silent and profound encounter with the image, removing it from any rapid consumption.
Within this poetic horizon, the figure of Fatima Val occupies a central role. Her body embodies a measured, composed beauty, of an almost Canovian lineage. The lines are pure and continuous, governed by an inner balance that recalls an internalized classicism, never overtly quoted. The pose is gathered, restrained, suspended in a time without coordinates. In these images, the nude is not a statement, but a contemplation: a silent presence that offers itself to the gaze without ever surrendering.
Alongside this dimension of formal equilibrium, the figure of Fabiana Fabbrini introduces a more emotional and psychological suspension. The body appears isolated in space, immersed in a condition of waiting that recalls the female figures of Edward Hopper: silent presences, distant from action, concentrated in an inner time. Here classicism is not form, but atmosphere; not pose, but state of mind. Light accompanies the figure without fully defining it, reinforcing a sense of poetic solitude and introspection.
The physicality of Nicole Mottini introduces a different tension, shaped by bodily awareness and identity strength. The body is never exhibited, but affirmed: a presence that dialogues with space and light, while always maintaining an ethical distance from the viewer’s gaze. Sensuality is controlled, restrained, inscribed within a narrative that restores to the body a dimension of autonomy and self-determination.
Of particular emotional intensity is the series dedicated to motherhood, embodied by Dalila Krizia Mendola. Here the female body becomes a place of relationship and origin, a space of contact and protection. The moment portrayed is intimate, free of rhetoric: a direct and rare gaze that transforms the image into an empathetic experience. Motherhood is not idealized, but rendered in its physical and emotional truth, as a universal and profoundly human gesture.
Exhibited in the international contexts of New York, Miami, and now at Paris Art Capital, these works construct a unified narrative of the female body as a space of presence, memory, and silence. Giannotti’s research stands out for its rigor, restraint, and depth, offering a vision of the feminine far removed from stereotypes and simplifications, capable of combining classicism, introspection, and contemporaneity.
His work invites us to slow down, to observe, to linger.
To recognize in silence not an absence, but a full presence.
The very measure of the gaze.
Elisa Larese, Art Historian