Valter created a self-portrait of his own ageing physiognomy, documenting his parents’ reaction to seeing their son at an age they will never meet in real life with a moving image piece, thus creating an impossible time breach in the fabric of his parents’ existence. We will never meet at that age explores the concepts of time, life and death.
In the Box
-IN THE BOX 1
Silicone, fiberglass, wood, fishing line ,oil colours
63cm x 80cm x 29cm
In the Box 1 is part of a series of portraits, which capture someone through their on perspective as a portrait par excellence. The man's eye, his so-called door to the soul, but as well the door from which the person sees the world. With 'in the In the Box 1 we are looking at total closure ( regarding reality)
In the Box
-IN THE BOX 2
Silicon, fiberglass, wood, fish pole, oil colours
39cm x 42cm x 25 cm
In the Box 2 is the second portrait in the series, in contrast to the first one with this portrait we do not know if the person is about to open or close their eye creating an effect of suspense, it's the description of an instant between nothingness and reality.
Epoxy resin, gypsum, paint
40cm x 20cm
Teeth conserve the psycho-emotional memory of our life, they are a key to bring the subconscious mind into consciousness. The lower right wisdom tooth reflects the power that we develop to express our feelings on our surroundings. This self portrait starts from an experience known to many, the wisdom tooth extraction. The tooth is presented in its actual state at the moment of the dental operation and through the consecutive phases representing the value of awareness , permutation from pain, acquisition and normalization.
Here and now
-HERE AND NOW
epoxy resin, wood, aluminium, led light
43,5cm x 87,5cm x 10cm
Here and Now is a self portrait exploring the notion of the present moment, the only instant to which we should be anchored to. Rumi, the great poet and teacher of Sufism, declares: “Past and future veil God from our sight; burn up both of them with fire.”
in the Box series
-In the Box series
Silicone, epoxy resin, fishing line, oil colours
44cm x 49,5cm x 25cm
The series In the box is composed by different panels of similar size. Each panel represents an area of body enlarged to a bigger scale. Each piece is made from a cast of the artist's body itself. The series inherits the title, and develops, from the two previous works. In the box 1 and 2, respectively depicting the eye of the father and the mother of the artist, enclosed in a wooden box which try to metaphorize the well known Ernst Gombrich's theory: the virgin eye doesn’t exist, our eye perception is always bound to a so-called "conceptual clothes." In this case, however, the panels, relative to the parts of the body, are not enclosed by a frame and the reason is that through the body and the perception that it can have, we have access to a knowledge less constrained with respect to visual perception. The "frames" that surround these panels are made of skin as to suggest that here, the limit of our perception is nothing more than the finiteness of the flesh as a shell of a mortal body.
Silicone, human hair, oil colours
Garbage is a series of several sculptures produced in silicone and which represent the discarded objects such as the water bottle, the vial of the milk, the crushed cans. It's urgency to reflect on the skin as a mere ego shell, seen in its shade border and deadly container. Although lunges series roots of inspiration in pop tradition, it develops a reinterpretation by nihilistic tones.
Stringiamoci a coorte
-Stringiamoci a coorte
120cm x 50cm x 60cm
This hand belongs to the father's mother whom died recently. The title takes us into the heart of the work that began as a reflection on Italy, a dedication to the modern condition of a country tired and in decline. The work is also a reflection on the condition of women workers, represented by a hand marked by the experience, love and fatigue It poses in the rest position, the moment of pause and little recollection before a future finished. One face to the past, looking of a woman's employment status that concerns us and, concerns us as Sons, the only condition, the latter, shared by the entire human race. The hand sculpture holds a rosary, this underline another aspect as the strong Christian interference due to the geographical proximity of the church in Italy.Beyond a positive reading of religion or not, it unfolds here as a feature of past Italian generations , which for most people led to a life of full dedication to the church itself. In the rosary there is also a lace insert, realized ad hoc, from one of the few coamings lacemaker from Burano.Here we have a tone of hope, given by the mastery in Venice and around the world have, in recent centuries, being distinguished for the excellence of laborious and native manufactures. This tribute to Burano lace wants to be a metaphor, positive and hopeful, of the quality handicraft, tipical in Italy.
- Baby Damien
Silicone, human hair, oil paints, plastic material
40cm x 30cm x 30cm
The sculptural installation is an allegory that tell us how an art Master maintains, or should maintain his fresh playfulness key factor of a light-hearted child. The theory of the figure of the Artist as an eternal child is linked to the theme of game, that symbolizes the dimension of creativity. A mature artist who, once acquired total mastery of the techniques, goes back to create with light-heartedness, joy or even innocence.