Valentina Vallorani
was born in San Benedetto del Tronto in 1991. She graduated in 2010, enrolled in the same year at the three-year course of illustration at the Academy of Fine Arts in Macerata, where she has the opportunity to work with prestigious names of illustration. In these years he took part in the artistic collectives Totem and Nude Men that Corrono with which he participated in festivals of independent publishing and various collective exhibitions. His images have been published by Kult Magazine (Liège, 2013) and by the comics independent fanzine Sbim! (Rome, 2015). He currently attends the second year of the two-year course of Decoration at the Academy of Fine Arts in Macerata, where he lives and works.
He won the XI. Young Artist Exhibition – It’s me Artifact (Trieste) and the VII. Edition of Limen (Vibo Valentia). The latest group shows include a feather crown organized by the Tricromia gallery, Premio d’Arte Quarelli, curated by A. Demma (Parco d’Arte Quarelli, Roccaverano 2017), Lo Stato dell’Arte, curated by A. Socrati (Archaeological Museum, Ancona 2017) and Favole Forme e Figure, curated by F. Luser and C. Cervi (Galleria TRART, Trieste 2016).
The cards, unique support, are representation and spectacle of imaginary battles, voices or gestures far in time, “incomplete stories of daring characters, coming from I do not know what world,” the artist warns, “where nature seems to have never led to its creation is ended, where every being seems to have had a mishap or impediment every time in its making, and if nature had wanted to give life to a horse would have certainly ended up some unfortunate reason to make him an unidentifiable snout, or paws that remember those human, without logical connection.
Valentina Vallorani lights a timid candle in her mind to outline fantasies of approach to a magical world emptied of its symbols and redesigned, layered, condensed with an elegant elasticity on makeshift papers, torn to daily oblivion. Recycle old crumpled sheets, paper chapped by time, forgotten packaging that preserves stories and smiles or containers, cases, packages, cases and caskets means for Valentina Vallorani enter the field of unexpected encounters, take care of the old and its echo, work with an archeology of knowledge made of intersections, of millenarian and collective memory, of minimal events, of fantastic turns, of mythical and fabulous battles
Ut pictura poësis. This phrase by Orazio, created to define the encounter between painting and poetry, is perhaps the happiest path to describe and decipher the recent work of Valentina Vallorani (San Benedetto del Tronto, 1991), his labyrinthine and lively duel with the surface, its narration through subtleties and lightness, its delineating forms that stand out and that seem to find shelter in a world made up of daydreams, thoughts, crunchy myocinetic turns, intimate and precious notes.
«A poem is like a painting: there is what takes you most, seen closely and another, if you look at it from a distance; one wants the penumbra, the other wants to be looked at full light and does not fear the acute eye of the critic; one likes once, the other will like always see again ».
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