An artist at home in a wide range of fields—painting, sculpture, decorative arts—Eloisa Gobbo has in recent years achieved a very important maturity of style and expression. The results are works that wrong-foot and intrigue—just like this jar overflowing with Fabbri Amarena which is in fact a bearer of light, a lamp. Further ambiguity comes from the fact that this object is made of sintered nylon and yet appears to be terracotta. Such play on sense and sense perception is a distinctive feature of the Padua artist’s work. Like all authentic artists, she produces art that is open-ended, which can be interpreted at various levels.
For Eloisa Gobbo, decoration is an instrument, a de-structured alphabet which, through stylistic variation, she can re-arrange to form new patchworks of images. However, the artist is not content to remain at the surface of things. Her work reflects upon the social and political issue of prostitution, upon the existential problems caused when sex becomes dissociated from love. To express her thoughts on these matters, the artist draws upon the iconology of the ornamental arts in both the East and the West, then applying graphic design and computer graphics in a way that produces a very individual synthesis of form.