Giuseppe Frison nasce a Venezia il 29.02.1952. Autodidatta, attivo dal 1977, ha identificato e realizzato l’arte agli esordi con i maestri: Vivaldo Martini e Luciano Dall’Acqua. Nel 1982, ricevendo pareri favorevoli della critica, si confronta con il pubblico effettuando numerose mostre con opere di: quadri ad olio, sculture lignee, sculture di vetro, grafica e incisione; partecipa a importanti rassegne d'arte a Venezia, in Italia e all'estero. Frison ama la natura e si è avvicina da appassionato alla montagna anche alle Dolomiti. Ebbene la montagna, anche per chi ben la conosce come Frison, diventa una dimensione spirituale. Ecco che la sua pittura lagunare si esterna, interpretando la montagna, per lui che la vive dentro e non con effimere retoriche, con pennellate che affondano, riuscendo con la materia a dare quella giusta scabrosità della parete, materializzando i colori della roccia che egli scala.

Dalle sue opere scaturire l’anima della montagna che egli scala, i colori del calcare rosso mattone, rosa, all’indaco avvicinandolo alla tenue luce delle distese lagunari. Un sposalizio perfetto per un vero veneziano che ama la sua città ma nello stesso tempo tra i monti sa cogliere l’essenza della natura, e la luce, l’acqua, la roccia, la natura accompagnano il Frison, il quale sa scartare le nostalgie e punta dritto al midollo esaltando le bellezze della natura. Paolo Rizzi.

Sue mostre personali sono state allestite nelle maggiori città d'Italia, Svizzera, Francia, Regno Unito, Vermount (U.S.A.).
Di lui hanno scritto: C. Ongarato, E.D. Martino, L. Dall'acqua, G. Gasparotti, A. Fiore, L. Facchinelli, O. Campigli, P. Rizzi, G. Mugnone, M. Dallou, F. Samà, G. Sara, V. Abrami.
Televisione: Rai Tre, Teleuropa.
Affresco: 7 mq. Casa Privata a Monselice (PD)
Giornali: Il Gazzettino, Eco d'Arte Moderna, Dizionario Enciclopedico d'Arte Contemporanea, Il Secolo, Gente Veneta, Galleria Veneta, d'Arte Contemporanea, Il Secolo, Gente Veneta, Galleria Veneta,Adige, Panorama e Top Arts, Il Secolo, Gente Veneta, Galleria Veneta, Adige, Panorama e Top Arts, Le Monde.
Mostre personali più importanti:
Personale: Gallerie “Du Theatre” – Ginevra- Svizzera
House the factory - Vermount (USA)
Personale: Galleria "Centro Storico" - Firenze
Expo Art 1994 - Verona
Personale: Galleria d'arte moderna "Benvenuti" - Venezia 1982, 1992
Personale: Galleria Saint Michel - Parigi
Personali: Centro culturale U.C.A.I. San Vidal Venezia, 1994, 1997
Mostra nazionale "Alle Colonnette" Venezia. ’83,’84,’85 “segnalato”, ’86, ’87, ’88,’89,’90,’91,’92,’93,’94, ’95.’96.
Ultime partecipazioni rilevanti:
Edizione 1999: I pittori veneti “Villa Contarini” Piazzola sul Brenta - Padova
Mostra Permanente all'Hotel Atlanta Augustus - Venezia
Permanente: Hotel "La Valigia" Venezia
Mostra U.C.A.I. Venezia "Sale Apollinae_San Marco" 2004
Biennale di Venezia 2004 “Palazzo del Cinema” Lido di Venezia personale con 18 sculture di vetro.
"Venetian supper with the magic of Murano Glass" Englad_Billericay_Essex_february 2007.
Mostra "The Cambridge Glass fair". February 2007.
Mostra internaz. di scultura, pittura, incisione "Premio Ruga Giuffa"’85 “segnalato”, ’86, ’87, ’88.

Personale "PALAZZO DEL CINEMA" Biennale Lido di Venezia 2004

Giuseppe Frison was born in Venice on february 29, 1952.
Starting in 1977, he has taken an active part in important art exhibitions to Venice and abroad,He has held solo exhibitions is the major italian and also Geneve, Paris , Vermount (U.S.A.). Arte fierda di Verona "94.
Frisom's work has been reviewed by: C. Ongarato, E.D. Martino, L. Dall'acqua, G. Gasparotti, A. Fiore, L. Facchinelli, O. Campigli, P. Rizzi, G. Mugnone, M. Dallou, F. Samà, G. Sara.
Televisione: Rai Tre, Teleuropa.
Papier: Il Gazzettino, Eco d'Arte Moderna, Dizionario Enciclopedico d'Arte Contemporanea, Il Secolo, Gente Veneta, Galleria Veneta, Adige, Panorama e Top Arts edizione 1994.

Mostra U.C.A.I. "Sale Apollinae" San Marco Venezia "Incontri d'arte" 2004............................................

Personale: "Venetian supper with the magic of Murano Glass" Englad_Billericay_Essex_february 2007.

To Giuseppe:
I have nearly reached my aim, but you have just started a “harsu” road, and to go along it you must be free from other activities.
Fucina degli Angeli - Venezia- 27/11/1993, father Egidio Costantini.

Strange material, glass. Apparently liquid, elusive, unstable in its thousand reflections and at the same time hard, sharp, solid. Sculpturing glass is a difficult enterprise. Because pliancy and rigidity almost add up, one must drive one’s hand that of the glass-master until becoming one with the glass, giving it soul an life, beautiful. Giuseppe Frison loves glass so he loves Venice. His sculptures are natural forms of glass which modify according to the angle of incidence of our view and the quality of light. It is like looking at Venice: one cannot leave aside the varieties of its colours and its reflexives. Everything becomes liquid.On looking at these beautiful glass-works we seen to capture the reflections of the sun, the wave light of the lagoon. Luciano Dall’Acqua.

Scultura in acquamarina "Alla Luce"

Dear Giuseppe,

….I can see you on board of an imaginary boat, going in search of dreams and emotions, through lagoons shoals and canals, a search which is nothing but the discovery of you self, of your inner nature. The language of painting, despite all the possible formal references, enjoys expressive autonomy both in the building stage and in the use of colour given by the matching of hues you use a flat language which can be understood by everyone and which can therefore be whitely enjoyed for the communicative values deriving from it. Your highest quality is your ability to be yourself part of the word you represent, and to depict it with great spontaneity. One can feel in your marine landscapes and lagoons a rarefied atmosphere felled by a toned-down colour used with elegance and which becomes a fundamental characteristic so as to be a product of aesthetic delight and dialectic meeting. The call of poetry is always present, the balanced amount of colouristic and sentimental feelings have gradually developed and have been represented with great care. There are the vibrant elements which a visitor can immediately perceive. I wish you great success, I am sure that the public, being more sensitive and careful than one may dream of, will not only appreciate your art but will also love you.

…Usually; believing and creating

are not the same thing. Yet, when a person like you manages to be as coherent in his daily life as in the deepest corners of his own soul both in his way of life and in his logical canons then thought and action become the only possible projection of oneself on oneself and on the reality of the outside world.
This is why you are always serene, always open and affable with what surrounds you and with what often even keeps you from your paintings.
Your smile testifies that one can be happy; while your tireless activity suggests that, in life, one cannot allow time to become a useless shower of days and hours.
Your pleasant conversation helps those who listen find courage to look at the present for what it could represent rather than just accepting it as it appears.
Your glance, at times, can be perceived as a lucid thought that testifies to the presence of your profound conviction, something certainly more important than life's simple, though necessary, exterior.as lucid thought that testifies to the presence of you profound convic

Maybe this is why you succeed in giving logical continuity to what you do and who you are: your actions have the capacity to place themselves in time, to find in time the footprint of a willed, instead of given, destiny.
The more the years pass, the more I feel the risk of living “in the past”, of reflecting memories in present thoughts and of living those memories as though they were something real.
You, instead, always manage – and I don’t know how – to be conscious of yourself and to discern the fine line that separates reality from fantasy with lucid security, even when you break the magic temporal mirror to fall into a world abounding in images.
Dwelling on the imponderable, the mind soars with considerations that lose themselves inside their own concepts. But the incapacity to understand or to possess the future leaves space to the will to succeed – nonetheless – in giving meaning to what time hollows out and an entire life cannot calm.
Were I to meet you in another life, I am sure I would find you painting your lacustrine landscapes with the same pale colours with which, today, you know how to give light – so much light – to your ideas and to your life.
Claudio Ongarato.