Dino VallsDino Valls dino valls wiki vallx Spanish painter born in in Zaragoza. Valllshe has lived and dino valls wiki in Madrid. Building on a childhood passion for drawing, Valls taught himself to paint in oils beginning dino valls wiki After completing his degree in Medicine and Surgery inValls devoted himself full-time to the profession of painting. As one of the Spanish representatives of the vanguard of figurative art, Valls' work displays the strong influence of past masters and their studies of the human being. In the early '90s, Valls began studying the use of egg tempera, adapting and customizing the techniques of Italian and Flemish masters from the 15th to 17th centuries to create new works in combinations of tempera and oil.
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Dino Valls is my favorite painter of all time. While his paintings seem disturbing, and perhaps even have a subtle sexual disturbance to them, I am drawn into them for deep contemplation, and never come out afraid or disgusted.
I can actually feel them expand my consciousness, my perceptions about myself, the dialog between my conscious and subconscious. So naturally, when offered the opportunity to write an analysis of one of his pieces, I was excited. Dino Valls is a contemporary painter. He was born in in Zaragoza, Spain, but he moved to Madrid in , where he continues to live and work. Valls developed his passion for art as a child, watching his father draw and visiting local exhibitions and museums.
Valls began drawing using pencil, color pen, ink, watercolor, charcoal, and pastels when he was a child. Valls attended medical school at the University of Zaragoza aka, Saragossa , and in completed a degree in medicine and surgery. He continued to hone his skills in oil painting throughout his university studies.
Valls took a trip to Paris in and seemed to return with an inspiration for a more defined and personal subject matter for his paintings. In he had his first devoted exhibition of his work in Zaragoza, and he won an award for his paintings in His work started gaining attention and was requested for inclusion in collective gallery showings in Madrid.
Immediately upon graduating with his medical degree, Valls began devoting himself full time to painting and developing himself as a professional painter. Valls continued to gain recognition in Spain. He had his first devoted gallery showing in Madrid in , and a year prior his work gained wider European exposure in a traveling collective exhibition of contemporary Spanish art.
He enjoyed his first American exhibition in , and had several exhibitions throughout the United States after Kreibohm. Valls has continued to paint, and his online gallery provides selected pieces and series in a timeline format, spanning from Valls. Noxa is an original painting by Valls that was completed in Although his note for the piece in his online gallery indicates Noxa is an oil painting on 25cm by 25cm wood, Valls is well known for using layers of egg tempera overlaid by transparent oil glaze Parker.
Noxa depicts a realistic young woman from the neck up. Her features are perhaps mildly androgynous lack of make-up, indistinct hair length , but her thinned eyebrows, slightly pink cheeks, plump lips, and moist, emotional eyes seem to make her decidedly female.
Her face is partially obscured by a red cloth that encircles her head so that she appears to be looking out from underneath it. The cloth itself is being pulled back from her face, as if it is being opened up by a variety of metal instruments presumably stainless steel surgical instruments.
One of the instruments, like a forceps, is holding a Polaroid-style photo, the corner of which is pushing into the cheek bone area of the female subject.
In terms of the composition of Noxa the lines are strongly defined by the contrast of the red fabric against the pale Caucasian skin of the subject.
The lines are curved, with a slight diagonal positioning in the right side of the painting, drawing the eye around the face of the subject, and then away to the Polaroid. The dominant shape Noxa assumes is a slightly asymmetrical circular shape, created by the circular opening of the red fabric.
Assuming the color of the online digital representation is accurate, the color of Noxa is warm, with rich red hues. However, the color is somewhat dull and muted, creating a sedated mood. And finally, the painting has a rich texture, typical of realism. Because Noxa was painted in it falls in the postmodern era.
However, the technique and style that Valls consistently uses in all his paintings is modeled after the Italian and Flemish masters of the 16th and 17th centuries- the Renaissance period McIlvaine. Some have referred to Valls as a surrealist Casal-Data.
Likewise, while Noxa represents qualities of realism, the treatment of the subject is in no way natural. Perhaps magical realism is a more concise sub-genre to describe Noxa. Contemplation of Noxa seems to reveal that it represents a sort of unnatural birth, or more likely, exposure. The deep red cloth likely connotes a uterus. The cold, steel surgical instruments holding back the cloth hint at a surgical procedure, a cutting. Perhaps the uterus has been cut open to expose the fetus, the newly born subject.
The subject is a young woman, her face appearing vulnerable, sad, soft and childlike, yet her eyes convey a strength, a life force. She is directly looking at the viewer with bold and piercing eyes. The Polaroid-like photo being pressed into her face also contains the image of what seems to be a female. Perhaps it is her- a projection of her own self. Her arms are bent up, covering her face almost as if in a fetal position. The juxtaposition of the girl in the photo who is trying to hide behind her freed arms with the main subject who appears powerless and unnaturally exposed, the former pressing in on the latter causing pain and discomfort, seems to hint at the Jungian archetype of the shadow , or personal unconscious, and the persona , or conscious ego self Diamond.
To become conscious of it involves recognizing the dark aspects of the personality as present and real. While it would seem in such a view that the Polaroid girl represents shadow because she is hiding, avoiding, much smaller, and not central to the imagery of Noxa , it is more likely that she represents the ego self, the persona. The persona is the aspect who does not want to be exposed, who is resistant to bringing forth shadow aspects into the conscious mind. I am the innocent and vulnerable you, and by you refusing to acknowledge me, turning away and hiding from me, you are causing me discomfort.
One of the more curious aspects of Noxa is that the exposure of the shadow self appears unnatural, as represented by the surgical instruments and the implication of the uterus, or birth. Is Valls implying that exposure of the shadow to the persona is always an unnatural, surgical-like experience, or is he implying that this is one way by which shadow becomes exposed?
Natural birth occurs in a process, a slow and rhythmic pushing out. Is Valls telling us in Noxa that there is some sort of existential crisis which prompts an unnatural birthing of the unconscious into the conscious? Most likely because Valls is a contemporary painter in an often cynical post-modern era, there is no known thorough academic analysis of Noxa. Interestingly, in a scathing critique of new realism, Miles Mathis includes Dino Valls in his review.
His technique is often amazing, but it is in the service of absolutely nothing. The emotional content is zero. Body parts, arms, legs, hands, heads, are treated as parts , as if pieces of department store dummies or sculptural casts, but painted as very much living flesh. These suggestions are mixed with medical imagery, religious iconography, references to medieval and Renaissance painting and an undercurrent of sexuality, though the latter seems more intended to disturb than to arouse Parker.
And if so, these perceptions could arise into the conscious mind, but viewers fail to take the further step in analysis of the work in relation to the human psyche. This urges us to understand him through a conceptual language. But worth is a subjective value. While Pearce may look upon Noxa as holding a rich allegorical worth, inviting a deeper exploration, some critics such as Mathis find little worth.
Allegory is a conceptual language, and is an exclusively human form of expression. Many classics in literature are allegorical in nature, intended to express complex ideas and experiences that would be more difficult to express in direct ways. The situation of the allegory itself provides relatable insight that adds dimension, but calls on higher intellect, requiring skills of decoding, deciphering, logic, and pairing.
Therefore, allegory itself holds inherent value as being an expression of human experience than can only be understood through higher intellectual function. The work of Dino Valls is clearly in service to the human experience. If Valls is making some statement about modern sociopolitics, it is one I am not even interested enough to pursue. I am not interested in manufactured psychological or sociopolitical lessons, especially those revealed by surrealism.
I find this categorically shallow, like the faux paradoxes of Escher. High art is not about games and puzzles, or about unwrapping faux paradoxes. It may be about psychology, in a way, but it should be a psychology of emotions, directly revealed, not about surrealistic puzzles. These puzzles have a place, and are sometimes interesting as article illustrations or the like.
And Noxa clearly does not fail to evoke emotional discourse and subtlety if one is truly examining, as evidenced by other more scholarly reviews. His paintings are reflections where anxiety has settled down, along with the painful processes of a split personality.
In fact, the darkest beast lies within us. It is about images in aversion, whereas faces impose the enormous, or even better, a Medusa-like kind of gaze. We are unable to escape from the disturbed or upset sight of the figures that Dino Valls paints, these eyes are focused to something that we are yet to understand, as if they expect something from us that we are unable to provide.
Their symbolisms constitute allegories of the subconscious, define pulses superficially, allude to the process of transformation, and recapture the meaning of a thought that exceeds the reticulation of the rational.
Art is very personal not just to the artist, but to the observer as well. There is a slow evolution from the scenario filled with motifs towards a starkness, a deprivation of secondary elements. We shall see how the artist manipulates these scenarios as containers that reflect the interior psychic state.
His work is not indicative of the absurdity and free-associative chaos of surrealism, which is wholly subconscious and fails to offer direction. Indeed, Noxa seems to tease out the subconscious shadow through the conscious exploration of self and meaning through her representative experience. She offers a path- a path to recognize our own shadow, our own pain in the duality, the longing for integration of the parts of self.
He tries to find answers that only are in our soul, where the origin of all things is to be found. If the scholarly analysis is true, then Noxa is an experience, a personal and deeply human experience, but one which may not represent a single experience, but rather a universal experience. Noxa digs at the psychology of human growth, our relationships with ourselves.
In summary, Noxa carries an inherent theme of the human experience and concept of self. Contrary to what some critics suggest, the painting represents far more than a sexualized figurative portrait of an emotionless girl having absurd surrealistic treatments imposed on her. It represents the longing to be integrated, the painful conscious awareness of the disintegration, and perhaps some sort of external event that prompts an existential crisis, abruptly revealing this underlying tension in the psyche.
The New Contemporary Art Magazine. For monograph, Dino Valls: Ex Picturis, Mira Editores. Opposition and Sequence in Cycles. When a Surgeon Paints. Comments Off on Dino Valls: