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 | 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
Light and Darkness
夜晚閃耀著黑暗的黑暗反射
(Yèwǎn shǎnyàozhe hēi’àn de hēi’àn fǎnshè)
“The night shines with the dark reflections of the dark”.
The inscription in ideograms, on the right side of the work.
Therefore, the night shines, but with its own light.
The ambiguity.
Ambiguity literally permeates this work, from one end of the pictorial canvas to the other.
How can the night phase shine?
And, above all, how can it shine with dark refractions? Of spontaneous brightness.
The artist, here, certainly does not resort to the principle of non-sense. Of proceeding absurdly.
Nor to the gratuitousness of expression itself.
So, what is the profound meaning of such an inscription? What is the meaning of the work itself?
Deciphering the work appears, at first glance, undoubtedly difficult. Far from immediate.
The same ideogram: “ 光 ” (Guāng), or “The light”, located in the upper and central part of the canvas, is depicted in black. Not in white: the color of light par excellence.
The work is therefore cryptic. Encrypted.
The material encrustation present in the center, in the lower half of the work, is a whitish-toned square. It radiates into the available pictorial space.This is a filled material quadrature. The internal part is grey. Therefore, in the middle between light and darkness.
The same shade radiates from the upper left end of the canvas, almost as if to contrast the dark color of the background of the work itself. However, this radiation is by definition median. It’s in the middle. It is a gray radiation. Not white. We could almost define it as a “non-point of light”. A “non-reflection”. Black material backgrounds, in the upper band of the work, dominate the composition, overlapping the greyish and descending brushstrokes. A vertical material stripe, on the right side, accompanies the main inscription and seems to rise upwards. It is whitish, grey, with blackish contaminations. A flat background, black and white, is framed, in white, in the central right area. An irregular and material background, whitish-grey, appears on the left, accompanied by redundancies of it, scattered here and there, in the body of the work. A further black material layer, at the bottom right, is concomitant with the whitish vertical stripe.
This work is an enigma. It would seem to imply the unfolding of a both chromatic and ideal conflict between light and shadow. But, presumably, the dominant character of the work is constituted by a peaceful and placid affirmation of a basic ambiguity.
The quiet unfolding of the moonlight during the nocturnal phase?
But this is a night opera. Not lunar.
The philosophical and cultural implications of the work are evident.
Duality itself. The subtle and underground contrast between expectations and ambitions. Between appearance and substance.
The work is a clear reference to the recent claims of the Chinese Government on the territory of Formosa and the archipelagos of Penghu, Kinmen and Matsu: the island state of Taiwan.
The painting therefore has strong autobiographical implications and seems to suggest a calm and cold observation of the unfolding of events, rather than a clear stance on the matter. Almost the unfolding, pure and simple, of a news story.
Black and white serpentines creep up and down. There is also a mixed and elongated one that runs along the entire right rib of the canvas. Another recurring element in the author, the “X”, appears at the bottom right of the main material encrustation and prevents the closure of the circular shape below.
In light of the facts, a certain underlying drama actually shines through the work. The clear awareness of what is evident. Pure storytelling. Taking note of a state of fact. The consciousness of the inexorable and tacit suffocation of a prolonged desire for independence.
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