After following courses in Biology at university level and pursuing artistic studies, he joins the Scuola del Nudo in Catania; in 1980 his passion for art (particularly of the XVI and XVII centuries) leads him to study the technique and study of painting through a careful investigation of Caravaggio, Poussin and Flamish painters such as van Eyck and Brueghel. In the meantime, following his classical education, he deals with Hellenic art with the persuasion that its aesthetic as well as technical perfection are a sufficient means to satisfy his unusual curiosity. By this he is led to cross contemporary painting in order to widen his knowledge and discover his inner dimension by way of a greater reflection on life; in this direction he tries to interpret "thought" (so many times unutterable) as a means to throw a new light on the fundamental problems, which our mind never fully gets rid of, staging visual blackmails, blackmails of the soul.
His activity as a painter moves from Magritte's example as a thought of rupture with everyday reality in order to get free from it; successivelly he turns to De Chirico as a means to be able to insert a personal spatial and temporal dimension, where it becomes possible to match two seemingly contradictory strata, dream and objective reality, into a kind of absolute reality. Later he is attracted by metaphysical painting, not just because of his stylistic choices, but for the interest expressed by a compositive steadiness. Objects, figures and space itself become powerful masses created by sombre and mellow chromatic volumes in a context where time seems to stop; subjects look suspended between metaphysical influence and neoclassical memories drawn from the past and deprived of time, in an unknown world. It is the world of "endonexo", a word invented by the artist (endon - exo), where gaze is clearly directed towards itself and inside things, but at the same time reveals the wish to make the observer feel the painting closer to his own life, raising from the soul's depths and gradually replacing reason's clear and simple spaces with new dark forces.
Shreds of everyday life are organized into disquieting and mysterious compositions, into perspectively improbable and articulated spaces, enlivened by fragments derived from works of the past, which arise to collective memory, deprived of time in an unknown world; one goes beyond the borders of reality and touches the depths of one's own being, where the border between exterior and interior is trespassed and perspectives are made illusory, showing the world the way it is, limitless. His visual metaphors possess a curious impact, are never trivial and, with their cold and clean figurativism, lead us to the surrealist and especially metaphysical referent, to De Chirico's poetics, but at the same time his interpretations show a relevant expressive originality.
Decontextualization of the different elements, derived from everyday life and changed into absolute protagonists of unusual scenarios produces irrational restlessness as well as it often stimulates a reflexive rationality. All is known to our eyes and memory, but all seems new through an obliquous swerve of thought which always refers to something else, to something which lies beyond. In G.G.'s works the objects painted do not loose their original meaning, but, becoming adults, warn us that sense and answers to our questions have to be looked for beyond what we actually see and observe in that instant, producing a short circuit, that strictly relates the author's and the observer's thoughts.A complex brain dialogue reveals the world's reality beyond any filter and any deformation brought about by reality.It is a perspective relating to existence similar to that of dream, but with the addition of the potentialities of an active and fully aware consciousness. In other words, it is objetuality made ethereal and eternal, obvious made absolute.