Work sheet
Technical data
| year | 2023 |
| purchase date | acquired in the portfolio |
| estimated current value in € | consult the updated Price Table |
| identification of the subject | abstract painting/reconstructivist work |
| materials and techniques | oil on canvas/material work |
| measurements in centimeters cm | 80 x 60 x 1,8 |
| inscriptions | signature |
| inscription technique | oil |
| inscription position | on the back/bottom/right |
| transcription | Valvo |
| authenticity certificate | issued at the same time as the sale |
| art multiples | no print issued |
| state of conservation | intact work |
| location of the work | Rome · Italy |
| copyright | © all rights reserved · global · S.I.A.E. |
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Description of work
Conakry, Market
The work speaks for itself. And, its title alone, really gives us everything we need to know. This, quite simply, is an open-air African market. One of many. Not one in particular. That’s life in Central Africa. It’s normal. It’s daily. It’s as always. Nothing special. It’s how it is every day.
And, from such “normality”, from such silent everyday life, this work comes to life. Something that deserves to be observed for a long time and in absolute silence.
Only silence, in fact, allows us to hear the sounds that arise from it.
“Conakry, Market” is an acoustic work, as well as a pictorial one. It is an olfactory work. Tactile.
There is no doubt.
The reconstructivist style here makes use of the material technique, as well as the chromatic one, in a massive and pragmatic way.
In watching the work you are surrounded by an epidermal sensation, almost being able to “touch” the fruit of the work of the earth, testing its consistency, roughness, weight and size.
The promiscuous set of chromatic quadratures, one adjacent to the other but not mixed together, sectorizes the pictorial space into very distinct and recognizable color fields. These areas, in fact, pile up on each other, in a frenetic and vital competition aimed at capturing our attention. At excelling one over the other. The result is a game of pushes and weights, of contours and contrasts, integrally harmonized within an all-encompassing symphony that captures everything. Which offers everything. This concept produces a three hundred and sixty degree pictorial compression, which starts from the outside and is directed towards the center of the canvas: the point at which, in fact, we tend to feel it with greater intensity.
It is the mechanism of the market itself. The logic of the sale. The opportunity of free trade.
And, specifically from the dynamics of functioning of an African market in the middle of the street, the work absorbs its own constructive structure, on a two-dimensional level.
The work, therefore, does not only represent what is seen but also and above all what is done. Therefore, it does not strictly exemplify what happens in a representative way. Rather, it is itself something happening, in front of our eyes. As a work of art. The observation of this painting unfolds its subject to our gaze in such a direct way as to create a very close and almost simultaneous temporal connection between what we intend and what we are actually enjoying.
As a consequence of this, we note how, in this case, the artist uses the reconstructivist technique in a conceptual sense, even more than in a purely graphic sense. The search for the figure and the spasm in recovering it are here taken to such extremes that matter and diegesis merge together in an inseparable mixture of colours, lines, stains and superimpositions. What results is the mixture of sensations and perceptions, of stimuli and solicitations, which unravel universally in their overall context.
A chorality of information, so numerous and so different, brought together in a crowded, iridescent and screaming whole.
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