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
The Disagreement
This 2023 study, stylistically similar to four other works by the same author, including: “Oxidation of a Dream”, “Portrait of Ilaria”, “The Horn of Africa” and “Siesta Time”, is, for some aspects, functional to the preparation for the performance of a major work by Valvo: “Izyum, Ukraine, 2022”, performed in 2023.
Therefore, the disagreement.
But what kind of disagreement are we talking about?
Disagreement between the parties? Certainly not.
The semantic elements all find their functional meaning within the work: both in terms of their positioning and the mutual interconnection that flows between them.
What is then the meaning of the title of the work?
Presumably we are referring here to the nature of human feelings. This work could indeed be defined as a “mood” composition.
Let’s observe.
The background tone starts from white, in the lower left quarter, then fades to bright red and, finally, to dark black. Material encrustations make their appearance in the liminal areas where the background color changes: they are pink and dark burgundy red. There is an early Christian graphic symbolism due to the recurrence of the stylized image of the “fish”: horizontally in the central part of the canvas or, upside down, in the lower left corner. Vermicular and serpentine figures, typical of the author, insinuate themselves, in a more or less stylized way, throughout the body of the work.
Both the light areas, as well as the increasingly darker ones, are structured according to the concept, very dear to the author, of an implicit depth of field, in which the same elements in the foreground are redundant, so to speak, to infinity and towards the deeper layers, until they become effectively invisible.
Diagonal lines of pronounced length, recurring in Valvo, cut the canvas obliquely, giving the work structural drama.
The intensification of emotional drives. The overheating of souls. Anger. The disagreement and, therefore, the resulting rupture.
This would appear to be the profound meaning of this painting with its evidently nervous dynamics and irascible character.
Already at first glance, moreover, the visual perception is accelerated, excited, above all thanks to the chromatic dominant in red, as well as due to the ordered chaos of the elements in action. We are led to “vibrate” in synchrony with what we observe, in “tuning” with the dissonance that is specific to this work. Dissonance, in fact, is a key element in understanding the pictorial diegesis of this graphic composition. Raw. Immediate. Almost violent.
Of the quintet of works mentioned above, this is, undoubtedly, the most structurally dense. And the resulting sensorial imprinting connotes the generic and profound sense of its nature.
A balance that arises, precisely, from the intrinsic antagonism of the infinite variety of factors at play.
A decidedly bloody and visceral work.
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