Giancarlo Zamponi was born in Pistoia, Italy in 1939. He is a graduate of The Academy of Fine Arts in Florence.
He taught art for many years at the High School of Fine Arts in Lucca, Italy, and earlier in his career taught art in
Triest and Florence. Zamponi s works have been exhibited in Italy, France, Holland, Germany, Norway, Morocco, Spain, Mongolia and China.
1976 Bari, Galleria Il Gabbiano
1978 Marina di Massa, Palazzo E.P.T. Turismo
1984 Pistoia, Palazzo dei Vescovi
1985 Pistoia, Studio Alcione
1987 Montale (Pistoia), Biblioteca Comunale
1988 Pistoia, Galleria Il Mezzanino
1989 Unna, Galerie OAK - Germany
1989 Buggiano (Pistoia), Palazzo Pretorio
1990 Pistoia, Palazzo Comunale
1993 Unna, Haus Opherdicke Holzwickede - Germany
1993 Hamm, Galerie in Hause Optik Krane Kunstkrais - Germany
1993 Waalwijk, Cultureel Centrum De Leest - Holland
1994 Ville de Palaiseau (Paris), Mediatheque George Sand - France
1994 Haseldorf, Schleswig-Holstein Artforum - Germany
1997 Kamen, Rathaus Galeria - Germany
1997 Hamminkeln, Rathaus Galerie - Germany
1998 Hamm, Maximilianpark, Germany
2003 Oslo, Norvegia - "Gathering of the Continents" Palazzo Comunale di Oslo
2003 Prato, City Sixty Italy
2004 Oslo Town Hall Gathering of the Continents - Norway
2004 Rabat, Bab El Kebir Marocco
2004 Casablanca, El Mechouar Marocco
2004 Prato, Borgo al Cornio Italy
2005 Ulaan Bataar, National Art Gallery - Mongolia
'' The reference to the reality of Giancarlo Zamponi is of great artistic strength and marked by an extraordinary
inventive authenticity. He refuses an abstract vision of objects, he never transports the execution that marks
the perceptive process through intellect, but instead he celebrates in front of our eyes what is independently
concluded from our analytical faculty of designation.
This defines the man and the passage by an immediate impact of sensual perception, without which the
fantasy of his interpretation adjusts or even subdues it.
In contrast, he uses real situations like exploratory ingredients as an impulse which accompanies his figurative sense.
During the painting process, the artist transforms himself into an medium and begins the process of modelling which,
in the expression of his inventive potential is not hindered by any constraints to imitate. His definitions are parallel
to his demonstration of the material.
Giancarlo Zamponi doesn't want these definitions to create a transposition of reality into images. He develops a
formal expression which is completely removed from the real model, whose expressive content closes within itself
the power to narrate the multiplicity of the reality perceived, and to point out individual characters.
Giancarlo Zamponi comments in a programmed manner and with mastery uses an autonomous formal competence.
And this doesn't try to isolate the moment in a serene snapshot to crystallize it into a lifeless statue, but it gathers
in an ample gesture the vibration of the non-stop mutation of the material that surrounds us. ''