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 | 150 x 80 x 1,8 (10 canvases 30 x 40 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
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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