Renowned ceramist and sculptor, Goffredo Gaeta has been active with his own studio since the 1950s until a few weeks before his death.

Born in Faenza, he spent part of his childhood on Kos, an island in the Aegean sea, where in his spare time he frequented a potter's workshop. He returned home and completed his studies (School of Ceramics and Drawing in Faenza, School of Art in Florence, Academy of Fine Arts in Bologna), devotes himself to painting and ceramics, ranging from decorative creations to more challenging works, often favouring sacred subjects for places of worship in Italy and abroad.

Over the decades, prestigious prizes and numerous awards accompany a vast and varied production, which in addition to ceramics includes artistic stained glass windows, blown glass, working with precious metals, as well as the use of bronze, marble and steel and many other materials to create even monumental works.

From the exuberant primitivist creations of the early 1950s, Goffredo Gaeta has been continuously renewing himself, both in the elaboration of a language that is original from time to time, and in the skilful use of material, knowing how to optimise its tactile, chromatic and luministic potential.

Dating back to the 1960s is a cycle of majolica in "Blue and white" marked by a strict minimalism that combined modernity and tradition. While the following decade was characterised by "spatial" and "cosmic" compositions: geometrical sculptures of technological ascendancy, alongside refined "luminous" paintings, between oneiric suggestion and visionary fantasy.

A full ownership of the craft that culminated in the 1980s and 1990s with a preponderant interest in everyday themes: Still lifes, Landscapes, Memories, and increasingly marine-inspired motifs. But also sacred subjects for domestic devotion and places of worship. Both are realised with skilful pictorial drafting or through original plastic modulations.

However, it is the the Mare Nostrum that takes over at the turn of the new millennium, with large sculptures and composite panels: Waves, Beaches, Boats at Sunset.

It is now a unique and unmistakable style, fluent and immediate, which in more recent times has found a new impetus in religious narratives, such as the huge panel ‘The Martyrs of the Twentieth Century in the Apocalypse of St. John’ in the cathedral of Ascoli Piceno (2005), the large apsidal wall depicting ‘Santa Maria Mater Ecclesiae’ in the church of the same name in Rimini (2017) and the entire sacred and liturgical apparatuses in the new church of Saints Peter and Jerome in Bologna Rastignano (2022).