Giovanni Benetton was born in Treviso in May 1976.
He received a Master of Arts degree at the Istituto d’Arte in Venice. He later studied at D.A.M.S. in Bologna.
Since 1998, as Director of Museo Toni Benetton, he has been curating the exhibitions and artistic activities of the museum dedicated to his father, the late renowned Italian sculptor Toni Benetton. These events have included the 1999, 2002 and 2004 editions of the Biennale Giovani. In 2006 he curated the exhibition “Testimonianze”, exhibiting Toni’s plaster sculptures at the Canova Gypsumteque of Possagno in Treviso.
In 2010, he presided over the numerous activities for the centennial of his father Toni Benetton’s birth, which included the “Townscapes” exhibition introduced at the XII Biennale d’Architettura of Venice, and the anthological exhibition at the Palazzo dei Trecento in Treviso.
He is currently continuing his artistic research and managing the Museo.
From 2000 to 2004, he worked as a blacksmith in an ironworks, honing his smithing craft (or skills).
What led me to create the “Microsculture” series was as a development of what was always at the centre of my interests: the study of the solids and voids in the human face as emotions pass through it.
I started by creating anthropomorphic iron bars, forging them as if they were soft matter, to give life to the faces of my imagination.
Here the shaped matter assumes the character of human visages which feel emotions and entice them.
I consider these bars as small fetishes, and they are dear to me, as they were the cue to imagine my subsequent sculptures – crafted on a small scale, but big in my mind. My research impels me to develop the theme of intervening upon hard matter with the will to take away, to pierce, to empty the compact and plastic mass, to lighten the composition and make a hard and heavy element such as iron seem ductile and pliable. That is where the shapes I forge become abstract, essential, but preserve those details from a face which have been both my reference and my cue.
I enjoy working on these mini-sculptures because of the tactile pleasure I derive from them, holding them in my hands and seeing them among the objects that I surround myself with, like small presences that accompany me.