Eva Giolo’s oeuvre to date shows a propensity to capture familial stories– of her own or of another’s. Using documentary strategies, she paints
her portraits and creates a window into unseen, usually private, interior worlds. But it is Giolo’s skill in these constructs that allows the viewer to watch these images with ease, without feeling like a voyeur but rather as temporarily welcomed inside of the frame. The carefully staged interior shots and low lighting techniques express her tenderness towards her subjects; they are counterbalanced by the exterior, wide angle and travelling shots, revealing her boldness, ambition, and command of the camera. However, in Giolo’s most recent work, Gil (2016), she puts down her camera and searches through an archive of moving images to find an image that she has never known, an image of her deceased twin brother. In this introspective short, she weaves found footage into a patchwork portrait of a possible representation of Gil while asking, ‘What happens to all of the things that nobody sees?’ In each of her films, her musicality is revealed on the editing table, where she takes images of tales of love and loss, of time and memory, and manifests them into strong forms that are personal and universal at once.
Rebecca Jane Arthur