VALENTINA D'AMARO

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Viridis series, 2016-18. By Rossella Moratto. Valentina D’Amaro’s landscapes are apparently familiar, they show the countryside, meadows, woods, hills and water bodies. But, given a closer look, these uninhabited views become unusual, sometimes incongruous. The realistic lead, in the initial phase, undergoes a formal elaboration, it is freed of its accidental detail and synthesized in an evocative representation, no longer compared to the original lead/cue. It is not landscape painting but, the opposite, the landscape is a metaphor that relates to something else by itself. In fact, in the fixity of the view there is a latent tension, a sense of perennial waiting as if, at any moment, something imminent is going to happen.

The choice of insisting on the same subject, the landscape, is motivated by it being part of a daily experience and the idea of the deep union man-nature. Its representation, in the synthesis of its phenomenal variations, has the value of an iconic model that as such allows D’Amaro to freely experiment the infinite chromatic possibilities of the dominant colour, green, the true character of her painting. 

Vespro series, 2015-18. By Andrea Lacarpia. Valentina D’Amaro has been concentrating for several years on the landscape theme. She has never limited herself to the recording of the view as unspoiled nature, but finds a center of gravity in the man who, through the meditative experience, accesses a metaphysical dimension in which the externality and the inner world empathically converge. Although it doesn’t appear in the paintings, the human figure is the spiritual presence that with its thought puts in place the landscape itself.

If in the previous series of paintings the artist transformed the apparent atony of the Padanian flatland into bright grassy expanses dominated by a dazzling green and a constantly white sky, now Valentina D’Amaro finds in the glimpses of Lake Maggiore and Lago d’Orta, a harmony with more intimate tones, conveyed by the reflection of the sky and the mountains in the lake water. The blue colour, modulated so as to reflect the etheric electricity of the lake, dominates the works with its subtle chromatic vibration. 

Vespertino, related to vespro, in Italian means the time of sundown. Vespro, vesper, is the evening prayer too.  

Untitled, 1999

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