Giovanni DeCunto’s paintings have been included in some of the most prestigious art collections and museums worldwide. His works hang on the walls of the White House, the Smithsonian, the Museum of Fine Arts, Boston — and now, with the opening of his brand-new gallery on 116 South Street in Boston, they are available for your viewing pleasure in an intimate, accessible setting. Boston IVY Members enjoyed private access to Giovanni’s work at an exclusive IVY Art Night, the inaugural event at his new gallery.
Trained as European classical painter, Giovanni is a larger-than-life Global Expressionist who has painted portraits for the likes of JFK Jr., President George Bush Sr., Tom Cruise, David Ortiz, and Shaquille O’Neal.
His dynamic canvases confront contemporary issues and explore the faces and events of modern culture, drawing influences from impressionism, expressionism, pop, and Dada. The physical and emotional reaction to Giovanni’s work is often as powerful as the work itself – vibrant, provocative, alluring, and, in all cases, compelling.
Giovanni sat down with IVY Magazine for an exclusive interview about the opening of his new gallery and his vision of the role a gallery can play in modern society.
Q: What inspired you to open your own gallery?
It is a combination of a gallery and a studio. It’s based on an “atelier” — the French version of a “studio” or “workshop,” in which the artist both creates and displays his work. The atelier is an intimate space that shows the artist working in a more complete, personal setting than the normal gallery: the artist becomes more accessible. Artists of the past never had to deal with social media; they never had to deal with marketing or branding. This setting makes it easier for the artist to become an intricate part of the community and society in which he lives, and gives more accessibility to gallery owners, collectors, and first-time buyers. We’ll hold private and exclusive dinners and events here, and offer preferred appointments to buy or to commission work. The atelier will also be open daily to the public to view and inquire about the work.
“My paintings are my palette for chaos and order to collide. I take the high art and the low art, which is commonplace, and let them battle it out on the canvas.”
Q: What can visitors expect when visiting your gallery?
Visitors can expect a unique experience. My client list includes rock stars, movie stars, titans of industry, kings and queens — you never know who you’ll meet!
Q: Is there a particular role you would like your gallery to play in the art market, and in society in general?
My paintings deal with the people and social issues of our society: I’m actually chronicling history. My styles include pop, classical, impressionism, and expressionism, and they reflect every movement in history that lead us to where we are now, fused together to create a fabric through which to identify time. In my paintings, you see where we are, where we have been, and where we are going.
“The contemporary issues confronted in the work provoke a response, both emotional and intellectual, and symbolize the struggle towards birth that our society now faces. We are at the beginning.”
Q: Has opening a gallery changed your relationship to your art, and/or to art in general?
Because of the intimate nature of my gallery, most of the time my clients become friends — and every time, they leave with a piece of history.
Q: Do you see the gallery as an extension of your art, and of your legacy of confronting contemporary issues?
Yes — I’m offering a one-of-a-kind blueprint to art, technology, and innovation by fusing the three together in historically compelling pieces designed to move humanity forward, while simultaneously creating a competitive human edge over artificial intelligence.
“Painting, to me, is the great equalizer. I paint for humanity. I call to arms: the eternal spirit of man, the builder, the organizer, and the evolutionary spirit that creates civilizations.”
Q: How does the process of curating a gallery compare to the artistic process of creating a piece of art?
Curating is its own animal: it’s a systematic presentation. Painting is a process too in-depth to talk about.
Q: Do you have any advice to aspiring artists, gallerists, collectors?
My best advice is that everyone gets a really good education and never stops learning.
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