Born in Rome, Giancarlo Impiglia moved to New York in the 70s, where he established a signature style on the shoulders of Futurism and Cubism, his technical skill underpinning his eclecticism and allowing him to indulge in an appetite for complexity.

Whereas at a glance his easily identifiable, vibrant paintings with their dynamic compositions may seem simply aesthetically pleasing, their deliberate beauty is a critique on society’s preoccupation with materialism and superficiality, as beneath this façade lies the true meaning of his work: each figure is depicted as indifferent, faceless satires defined entirely by the folds of their gowns and the glitter of their jewelry.

As they blend together into one another and into the background, forming a single tapestry of colors and forms, their individual identities and true selves—complete with ambitions, desires, and obsessions—remain concealed. The figures therefore become an extension of Impiglia’s critique, acting as a representation of society, and the very act of creating beautiful works and their content are united by a singular, powerful vision.

Impiglia has never been limited to his signature style, but has consistently found new ways of expression to express his concern about contemporary culture. This is exemplified by his camouflage series, in which he summons his classical education and Italian heritage to comment far more aggressively than ever before.

Impiglia’s work has been exhibited in numerous galleries around the world and is part of prominent collections including that of The Victoria and Albert Museum and the Absolut Art Collection. Three publications are dedicated to his work: Giancarlo Impiglia, Paintings for the Queens & Collected Works (2012), The Art of Giancarlo Impiglia (1995), and Giancarlo Impiglia: Recent Work (1982).