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/mixed media/material work |
| measurements in centimeters cm | 100 x 80 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
Glacial Hemorrhage
Stylistically speaking, this sui generis work clearly differs from the rest of the production generated in the same calendar year. Here, in fact, we are faced with something completely different. There is the total absence of all the author’s typical elements, or rather, their disappearance in a dissolutive sense.
The work essentially represents the environmental decay due to global climate warming. An extremely debated and very current topic, one would say. But the very fact of choosing to represent pictorially the worst that is happening on our planet, the fact of deciding to move the ecological reflection towards a purely aesthetic sphere, such as that of art, takes on, regardless, a sense of affliction. The bitter observation of the state of facts, from which, however, strictly speaking does not derive a creative inspiration but, on the contrary, the annihilation of the latter. This consideration takes on the role of denunciation and warning, rather than those of contemplation towards a work of art.
In this case, the work is more functional than ever to the transition of the message it carries, unequivocally leaving out any other type of consideration. The work therefore loses its function as a subject and consequently becomes a functional tool for the message it carries. The yearning for a simpler lifestyle, in the conscious renunciation of the infinity of pseudo-services and “goods” that are entirely superfluous, which have the only consequence of triggering environmental poisoning. Everyone wants everything. And almost the totality of this whole is, in reality, something that is often completely useless to human existence. It is a problem that is generated upstream and not, as people think, at the end of a production process. It is in the very way our life is understood. It is in the form in which our primary survival needs are decoded and perceived.
In the work we witness a true anthropomorphization of natural elements: in this case the polar glaciers. The dissolution of these causes bleeding. This work has a bloody and intensely dramatic connotation. We don’t see water flowing, but blood. The composition is the representation of the environmental “wound”. An open and hemorrhagic wound. A sort of implicit parallelism is therefore created between geological and environmental “health” and human, animal and plant “well-being”. It is the soul of a lost glacier: there is no water, there is no ice, there is only blood. Water becomes blood. Very simply.
Material agglomerations appear, without any form of structural organization, in the central part of the canvas, like isolated survivors. Rather than glacial fragments, they resemble human remains scattered randomly, without any construction plan. Without any semantic logic. They are mortal remains. They are all that remains. Nothing else.
Disorganized scratches emerge everywhere, cutting the canvas and compromising the ideal integrity of the pictorial space. They are signs of erasure.
The work is, moreover, an example of environmental cancellation. The engravings, in turn, are an example of the cancellation of the work itself. In a sort of sinister “game” of massacre.
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