Maria Baoli - Photography
The poetic of transitions
Maria Baoli (°1984 Madrid, Spain, lives in Brussels, Belgium) studied communication and marketing in France and Spain. In 2016, Maria graduated with honors in photography from the Agnès Varda School of Visual Techniques in Brussels, Belgium. In 2017, Maria Baoli won the SOFAM La Médiatine prize and was selected for .tiff by the FOMU museum in Antwerp.
Driven by self-initiated projects, her artwork focuses on memories and spaces as a starting point to examine the relationship between identity and the physical and non-physical spaces. After beginning her practice with an exploration of the manipulative nature of photography, Maria Baoli became increasingly interested in the camera as a tool for collaboration and improvisation with the subject to open a dialogue, sparking more questions than answers.
Her work has been shown in group and solo exhibitions in Belgium, Latvia, the Netherlands, Portugal, Spain and the UK. Currently Maria works and lives in Brussels.
How would you introduce your style to those who still do not know the power of photography?
My work is intimate, soft, and emotional. I try to capture what’s felt more than what’s seen. For those who don’t yet feel the power of photography, I’d say it’s like holding memory in your hand—like pausing time for just a second to say, “This mattered.”
When did the flame of creativity ignite?
It’s hard to say exactly. During my childhood I was always drawing and painting and later in my teens I bought a mini DV camera, I wanted to make films. Photography came later and started to be a more immediate and accessible medium to express myself while still telling a story.
What is the most beautiful moment during the creation process?
When something unexpected happens—a movement, a glance, a light shift—and it all just clicks. That silent magic. No words, just presence. Also seeing the picture processed on paper, I still love that analog magic and I get really excited!
Where do you get inspiration from?
From people, mostly. From silence. From my own memories and the gaps between them. Nan Goldin has been a major influence—her first show The Devil’s Playground was a real eye-opener for me. It was raw, honest, and full of life. I’m also inspired by films, walks at night, music, and the stillness in painting.
Who would you like to meet or work with?
I’d love to collaborate with the Belgian choreographer Damien Jalet—his work with bodies and space is stunning. Also, painters like Mamma Andersson and Jörg Madlener, whose worlds feel like dreams you can step into. Anyone who works from emotion and presence—those are the people I’d love to connect with.
What are you proud of?
That I didn’t give up. That I’m still here, still creating on my own terms. And every time someone tells me that a photo made them feel seen—that’s something I hold close.
Do you have a personal rule of life or an inspiring phrase?
“Stay soft.” Even when the world tells you otherwise.
What is the most memorable moment of the creation process?
It’s not really a single moment. What stays with me the most is the experience of sharing the process with people I would never have crossed paths with if it weren’t for the camera. Photography has allowed me to enter different worlds, to be welcomed into intimate spaces, and to connect in ways that go beyond words. That’s what I carry with me.
What's the worst job you ever did?
I once did a corporate shoot that had nothing to do with who I am or how I see. Everything felt forced and empty. I left feeling disconnected, like I betrayed my own eyes a bit.
Which three songs would you choose to describe your life? (beginning, middle, end)
- Beginning: “Blue Monday” – New Order
- Middle: “Creep” – Radiohead
- End: “Cumbia del olvido” – Nicola Cruz
