Maurizio Valch Abstract Painting / Territory and Thought
Vertical abstract painting by Maurizio Valch. Dominant dark blue and brown tones are divided by horizontal bands. Small rectangular blocks in red, yellow, and white, alongside incised lines, are distributed across the composition. In the lower right, a small staircase ascends towards an opening in a dark plane. The surface features visible textures and paint drips.
ADITUS, a work from the LIMINA series, invites contemplation of material presence and thresholds.
Detail of Maurizio Valch's vertical abstract painting 'ADITUS', focusing on a corner with a textured surface. Layers of acrylic and oil on canvas are visible, with incisions and impasto. Dark tones of blue and brown dominate, alongside a yellow block and a fragment of a ladder ascending from below.
ADITUS: a visual territory by Maurizio Valch, where material, rhythm, and incisions build a spatial presence. Part of the LIMINA series.
Vertical abstract painting 'ADITUS' by Maurizio Valch. It features dark tones of blue, brown, and black with horizontal bands and incisions. Rectangular blocks in yellow and red stand out, alongside a white element with drips. A small ascending staircase is visible in the lower right.
ADITUS, from the LIMINA series, invites contemplation of light on a material, stratified threshold.
Vertical abstract painting by Maurizio Valch. Dark blue and brown tones dominate, divided by horizontal bands. Small rectangular blocks in red, yellow, and white, along with incised lines, are distributed across the composition. In the lower right, a small staircase ascends towards an opening in a dark plane. The surface features textures and paint drips.
ADITUS, a composition by Maurizio Valch from the LIMINA series, invites contemplation of material and thresholds through its forms and textures.
Vertical abstract painting by Maurizio Valch. Dark tones of blue and brown dominate, divided by horizontal bands. Small rectangular blocks in red, yellow, and white, along with incised lines, are distributed across the composition. In the lower right, a small staircase ascends towards an opening in a dark plane. The surface features visible textures and paint drips.
ADITUS, from the LIMINA series, invites exploration of depth constructed through material and space. The artwork guides the eye across its strata and contained horizons.
Vertical abstract painting by Maurizio Valch. Dark blue, brown, and black color fields dominate, divided by incised lines and horizontal bands. Small rectangular blocks in red, yellow, and white, along with paint drips, punctuate the textured surface. A subtle, tiny ladder form ascends from the lower edge.
ADITUS, from the LIMINA series, exploring the tension between structure and fluidity, material form and conceptual thresholds.

Published work / LIMINA

ADITUS

A visual dialogue between matter, memory, and elemental form.

Medium
Pintura
Size
31.5 × 47.2 in / 80 × 120 cm
Series
LIMINA Painting series LIMINA 2025–Present · 2 works Maurizio Valch's LIMINA series features contemporary abstract paintings, executed in acrylic and oil on canvas. These minimalist and structural artworks explore territories of transit through superimposed planes, horizons, and suspended blocks, building a distinct visual language. View series
Orientation
Vertical
Context studies
6

Conceptual Note

Deep indigo and cyan tones intertwine with earthy browns and intense blacks, establishing a chromatic field of gravity and mystery. Through layers applied with a palette knife and brush, the surface reveals a construction based on an almost geological sedimentation, where pigment accumulates and retains, producing a palpable density. This contemporary abstract painting, with its contained yet expressive color palette, is executed in acrylic and oil on textured canvas.

This material construction is defined by a network of subtle incisions that delineate horizons and divisions. Some are traced with an almost architectural precision, while others emerge organically, like marks of erosion, contributing to the artwork's stratified texture. Rectangular elements of vibrant yellow and crimson red, alongside a suspended white block from which drips descend, act as focal points and markers within this territory. The surfaces suggest a history, a worked skin.

The vertical composition is structured by superimposed horizontal bands, creating a sense of stratified depth, evoking geological or architectural planes extending into the background. In the lower section, a tiny staircase ascends towards a small opening in a dark wall, introducing a subtle element that suggests a transition or a threshold into an unknown space, inviting a more introspective reading. Luminous contrasts between these elemental forms and the dark fields intensify the sense of volume. The artwork's presence is sober and contemplative, radiating an atmosphere of stillness that, nevertheless, contains an underlying tension between order and fracture. It aligns with the artist's LIMINA series, which explores limits and transitions, embodying his vision of territory not merely as landscape but as a primordial surface where memory and transformation manifest through matter, inviting a deliberate and profound observation.

Artist influences

In ADITUS, the deep indigo, cyan, earthy brown, and intense black tones build an immersive chromatic field of gravity and mystery, aligning with my affinity for Mark Rothko. These layered pigments, applied with a palette knife and brush, generate a palpable density and a contemplative atmosphere of stillness that heightens the emotional weight of the space. Across these expansive color fields, the composition integrates a network of subtle, architectural incisions, reflecting the minimal linear divisions I share with Barnett Newman. These precise and organic marks delineate horizons, organizing the stratified depth and transforming the simple structural divisions into active perceptual events. This layout of superimposed horizontal bands and geological planes evokes a territorial structure where horizons and distances extend into the background, resonating with the abstract landscape sensibilities of Richard Diebenkorn. Here, the canvas acts as a primordial surface where the physical layout of the planes registers a sense of territory and memory. Finally, the inclusion of small, focal geometric features, such as the rectangular elements of yellow and crimson, a suspended white block, and a tiny staircase ascending to an opening in a dark wall, connects my practice to Paul Klee. These minimal, primitive architectural signs introduce a vital sense of scale and symbolic ambiguity, transforming the structural limits of the composition into an introspective threshold.

All declared affinities