Lisa Giobbi’s sculptures: my very personal view.


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I am obviously a suspect. And I mean that sincerely. In the case of Lisa Giobbi, I will always be a suspect because she happens to my best friend and someone I love without specified boundaries.

But now, about her sculpting work: I am even more of a suspect since – when it comes to people we love – we tend to be MORE critical (and not less) of their artistic expressions, whether it’s an aerial dance piece or a regular passion for dance and movement or…as happens to be in this case….miniature, minute, tiny, close to invisible flies, penises and cropped bodies hanging on to life through a tough balancing act.

Well, in short: that is Lisa. This is completely and purely her soul at work and I wasn’t very comfortable with this aspect of her life until I fully understood it.

And now I do: I fully understand it and, what’s even more amazing: I LOVE it and it moves me. Moves me to tears.

After all, a ‘macro’ performer who flies around huge stages and has had affiliations with groups like Momix and Pillobulus, is responding to today’s existential and artistic values by producing and reproducing (and innovating) a fresh look on life, once we take in fully what she’s expressing here.

So, here is how it all started: after 30 plus years of knowing and loving this being, one night, one rainy night, in TriBeCa, we were having oysters and a sloppy tuna burger at an established (yet kind of run down) ex-trendy restaurant, when Lisa pulled out from her purse, a bunch of minute tripods or tiny hangers and started mounting her almost Joseph Cornell collection of work on the restaurant tablecloth.

The first reaction was stunning. Some waiters (all actors of sons and daughters of artists themselves), were absolutely mesmerized by Lisa’s work. “Can I try on this ring ?”, someone said. “Wow, look at these flies! Gorgeous!” another voice resonated.

I stared at the display and thought to myself: “ Giacometti would’ve been proud to be here”.

Her sense and sensitive deconstruction of a human body and its afflictions and demises – all minute – provoke what any great piece of art is supposed to provoke: a certain sense of discomfort and a intense feeling of possessiveness of this entire collection, as if we wanted to be in control of our discomforts!

I know: by now, in this 2015, the word ‘deconstruction’ can almost sound as an insult. Here though, it’s meant as a real mosaic of human remains and human aspirations and fears (all in one). And, by producing this extraordinary mosaic of our nightmares, Lisa does offer some relief – like the best of artists – in reminding us who we are, where we come from and what might become of once we decompose.

But it’s all tiny. And by being tiny, her universe grows larger and so do the margins of interpretations around her work grow larger since, at the end of the day, we all seek an almost impossible explanation about this immense dark universe in which our planet revolves, in which our minds open up to insurmountable possibilities of viewing life through a microscopic eye: the magical eyes and hands of Lisa Giobbi.

Bravo, Lisa! Bravo!

Gerald Thomas
New York, May 7, 2015

FIND her beautiful work on: www.

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