At the Antipodes

Work sheet

At the Antipodes · work code 64E6

Technical data

purchase dateacquired in the portfolio
estimated current value in €consult the updated Price Table
identification of the subjectabstract painting/reconstructivist work
materials and techniquesoil on canvas/mixed media/material work
measurements in centimeters cm100 x 80 x 1,8
inscription techniqueoil
inscription positionon the back/bottom/right
authenticity certificateissued at the same time as the sale
art multiplesno print issued
state of conservationintact work
location of the workRome · Italy
copyright© all rights reserved · global · S.I.A.E.

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Raisuli O. T. Valvo · Agli Antipodi · 2023 · Picture 0 · © All rights reserved S.I.A.E.
At the Antipodes · work code 64E6

Description of work

At the Antipodes

Showiness. Cheekiness. Kitsch taste. Definitely risky color combinations. Tacky drips of paint that smear the canvas in a mirror-like manner.
Street art. Pop art.
The work literally rubs against certain currents of the modern 20th century, just as it tends to recall some parallel phenomena of contemporary art, permeating itself with promiscuous references and quotations. A clear example of this: the anarchist symbol present on the right rib of the canvas. Banksy’s Anarchic rat. Or again: some anarchist-themed works created by the contemporary French Jean Mirre.
The series of overlapping squares, on the left side, naturally brings to mind the production of Andy Warhol.
The frenetic entanglement of a myriad of serpentine creatures: a clear homage to the work of Keith Haring.
But let’s remember, this is and always remains a work by Valvo.
The background of the canvas is a dark black. Between the latter and the polychrome quotes in the foreground lies the author’s typical semantics, well hidden.
So what does the artist want to express with this particular compositional structure?
Perhaps a sense of belonging to one’s time? To one’s own century?
Presumably yes.
However, this is an “independent” belonging: that is, disconnected from the concept of slavish imitation generated by the stimuli of the present.
The work, therefore, contextualises itself within its own period but, at the same time, denies the latter, and does so with the same means through which it momentarily becomes its spokesperson.
The message is evident and exquisitely contradictory: “I am part of this time. Likewise, I do not assimilate to it.”
The painting is permeated with the strong symbolism omnipresent in Valvo. An aspect that takes us backwards, one might say: to the dawn of time. The angled spirals, the cut circles, as well as the frenetic wriggling of the constituent elements, the vital and primordial jolt of the particles.
A complex of factors which, rather than winking at this or that contemporary trend, seems to be directly connected to a phase of cosmic genesis. Of planetary convolution. An “environment” in which fiery comets fall disastrously, flashes of light dart sparkling, material masses agglomerate with unprecedented violence.
From a jar of “Tomato Sauce”, one might say, to the dawn of life.
Even in this case the author does not deny himself, shrewdly using every available tool to then melt it, pour it into an original mold and forge it again with authentic features.

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