Opening: Iosonopipo at Hoxton Gallery
iosonopipo is an artistic alias of Giuseppe Palmisano, referring to a photographic series and concept that he started in 2012. In 2019, Palmisano auctioned and sold the artistic concept of iosonopipo, and put down his camera. He eventually returned to the creative concept three years later, this time as its Creative Director, with the concept of iosonopipo remaining unchanged.
All images ©Giuseppe Palmisano | iosonopipo
Hoxton Gallery, 366, City Rd, London, EC1V 2PY
The exhibition is open to the public from 15th September – 30th September by appointment at Hoxton Gallery, 366, City Rd, London, EC1V 2PY
For Palmisano, the works of iosonopipo are a means of communicating with the female body in its purest form. The photographer uses the female body, in nothing but a pair of bright, colourful tights, to convey emotions, messages and concepts through interactions with their environment. Many of the images reference nature, with the use of colourful flowers, or earth material. In doing so, Palmisano brings nature into the domestic setting and uses the female body as the vessel to connect the two.
The exhibition at Hoxton Gallery features photographs captured both in Giuseppe’s native home of Italy, in addition to some unseen photographs shot exclusively for the show in collaboration with London-based models.
The photography of iosonopipo evokes the stylistic sensibilities of photographer Polly Penrose, who exhibited at Hoxton Gallery in 2016. Penrose is known for her self-portraits, that use her own body to document her innermost thoughts and feelings across various life stages, addressing themes such as motherhood, loss, and introspection. While both artists share an affinity for minimalist settings and spatial utilisation, Palmisano’s approach diverges to the point of being autobiographical. His imagery is driven by a desire to explore the interplay between the female form, space, and the subtle, unseen sensations they conjure. Despite the nudity depicted, Palmisano’s intent is not to sexualise the female subject, rather, he aims to integrate them into surreal, yet minimalist domestic settings, examining communication in its purest essence.
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