Lunar Apotheosis

Work sheet

Lunar Apotheosis · work code 45DP

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 cm150 x 80 x 1,8 (10 canvases 30 x 40 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 Oimar Tancredi Valvo · Apoteosi Lunare · 2023 · Picture 0 · © All rights reserved S.I.A.E.
Lunar Apotheosis · work code 45DP

Description of work

Lunar Apotheosis

This sidereal work, with a bluish-white mixture, is made up of ten small-format canvases placed side by side: each canvas measures thirty centimeters by forty centimeters, for a total measurement of one hundred and fifty centimeters wide by eighty centimeters high.
The semiotics that permeate the painting are incisive, highly symbolic, with a high chromatic contrast and present a pictorial style that is rarefied and marked at the same time.
The writing of the work occurs through the tracing of lines, serpentines, quadratures and circles that intersect each other giving rise to a geometric hybridization of strong impact. A set of structural blocks, one might say, mechanically functional to the overall sense.
The lunar whiteness, expressed by the whitish shades of filling, opens the way to a poly-dimensional, deeper and more indefinite scaffolding. The semantics of the superficial graphic signs has repercussions within the composition, suggesting a purely three-dimensional development. The construction dynamics of the work therefore reveal, at a conceptual level, the presence of a real mass of vertices and segments, which impose themselves within an ideal space. By specific will of the author, we are not given to understand the overall meaning of the totality of the flows in play. However, we can sense, albeit partially, certain directions and impulses, pushes and weights, contacts and separations, which oscillate within a whole that would seem syllogistically synchronized like the mechanisms within a perfectly functioning clock.
We almost feel like we are witnessing the complex motion of a system, of some superior and “planetary” device, the purpose of which is completely unknown to us, even though we can appreciate its progress.
But it is mainly in the persevering absence of the global perception of what we are witnessing that the intrinsic meaning of the work itself is hidden. Here the ultimate purpose of what happens does not matter at all. Here the only thing that matters is that a certain phenomenon is happening and that we, as spectators, can visually enjoy such a spectacle. In all its meanings. In all its features. In all its mysterious effectiveness.
Lunar Apotheosis” or deification of the Moon itself as a subject. Something present, therefore, but essentially elusive to our knowledge. It is doubt and question, therefore, that constitute the key to understanding the entire work. It’s asking yourself the where, the when, the how and, of course, the why of what happens. And while we ask ourselves these questions, carrying out our investigation, we realize that the work, in reality, is already carrying out its work on our perception. The work expresses itself by connecting directly to our subconscious and does so without asking us for permission in advance. We could define it as a psychologically invasive work, which in fact it is.
The relationship that is established with the painting is hypnotic, at times disorienting.
We must therefore abandon ourselves to this vision. We must surrender, without any reservation, to its inexorable fulfillment within our psyche. Thus, and only thus, will we be able to absorb its essence.

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