Maurizio Valch Abstract Painting / Territory and Thought
Vertical abstract painting with a large central indigo blue field divided by thin diagonal incised lines. At the top, a bright red square stands out against a dark brown background. Two yellow blocks occupy the far lateral edges. Small red, black, and light blue squares are distributed across the surface. The base features a dense, textured horizontal red band.
Maurizio Valch, COACTUS. Acrylic and oil on canvas. From the SITUS series.
A low-angle shot of a vertical abstract painting leaning on a stone floor against a neutral-toned plaster column. The canvas features a large blue surface divided by thin lines, with red and yellow blocks at the outer edges. To the right, two empty wooden stretchers rest in the shadows.
Maurizio Valch, COACTUS. Acrylic and oil on canvas. From the SITUS series.
Low-angle view of a vertical abstract painting leaning against a textured gray plaster wall on a dark wood floor. The painting features an indigo blue field with fine geometric lines, a crimson red block at the top, and yellow side accents.
Maurizio Valch, COACTUS. Acrylic and oil on canvas. From the SITUS series. View of the work in a contemporary space.
A bird's-eye perspective from a mezzanine looking down into a double-height living room with exposed concrete walls. On the left, a vertical abstract painting with blue, red, and yellow color fields stands out. In the background, a corner window reveals an urban city skyline at night under a twilight sky. On the concrete floor, a brown leather daybed and a low white marble table are positioned under track lighting.
Elevated perspective of the artwork COACTUS by Maurizio Valch in a minimalist architectural interior with exposed concrete. Acrylic and oil on canvas.
Overhead zenithal view of the vertical abstract painting COACTUS resting on a textured gray rug, surrounded by dark wood herringbone flooring. The artwork features fields of deep indigo blue, bright crimson, and yellow, intersected by fine incised lines.
Maurizio Valch, COACTUS. Acrylic and oil on canvas. Overhead view of the artwork in an interior environment, from the SITUS series.
A three-quarter perspective photograph of a vertical abstract painting on a matte gray plaster wall. The artwork features a large indigo blue field crossed by thin diagonal lines, with a crimson block at the top and yellow accents on the sides. In the foreground, three lit candles on a wooden console table cast a warm, dim glow across the lower right corner of the space.
Maurizio Valch’s original painting COACTUS, in acrylic and oil on canvas, styled in a contemporary interior under soft overhead light and candlelight.
The vertical abstract painting COACTUS by Maurizio Valch rests against a concrete wall on a polished cement floor, shown from an extreme low-angle view. The canvas features a large indigo blue central field with thin incised lines, a bright yellow block on the left edge, a crimson square at the top, and a textured red band along the base.
Maurizio Valch, COACTUS. Acrylic and oil on canvas. From the SITUS series.

Published work / SITUS

COACTUS

Geometric tension and color fields within the territory of SITUS

Medium
Pintura
Size
31.5 × 47.2 in / 80 × 120 cm
Series
SITUS Painting series SITUS 2025–Present · 4 works SITUS is a series of contemporary abstract paintings exploring the position, boundaries, and distance between elemental forms. With an approach where negative space is as active as matter, each work functions as a minimalist abstract artwork structured around lines and territorial shifts. View series
Orientation
Vertical
Context studies
7

Conceptual Note

A vibrant crimson square rests on the upper boundary of a vast indigo blue field, set against a dense, dark brown band. In this vertical color field painting, the canvas is organized through distinct horizontal and diagonal incised lines that segment the space into multiple chromatic layers. Sharp-edged yellow bands anchor the lateral borders, while smaller red, black, and light blue square units appear suspended or supported at the intersections of these spatial divisions.

The material execution of the work reveals a careful layering of glazes and impastos characteristic of this original acrylic and oil painting. The incised lines crossing the blue background act as geometric thresholds, guiding the viewer's eye across a subtle low relief where the paint surface shows delicate erosion and sedimentation. At the base, a deep red plane balances the weight of the dark upper register, establishing a textured geometric abstract artwork defined by compositional rigor.

The placement of these elemental forms on the support generates a quiet tension between isolation and belonging. Within the SITUS series, space functions as a territory where the distance between color blocks defines their position and formal equilibrium. Rather than offering a closed narrative, the canvas invites contemplation of these geometric elements suspended in a silence that questions the relationship between forms and the space they occupy.

Artist influences

In COACTUS, the vertical color field composition is anchored by a vast indigo blue field and a dense, dark brown band, evoking the immersive atmospheric presence championed by Mark Rothko. This expansive color space is layered with delicate glazes and impastos, creating an emotional depth and texture that frames the viewer's experience. Organizing this extensive field, distinct horizontal and diagonal incised lines act as geometric thresholds in the spirit of Barnett Newman. These precise incisions, crossing the indigo background, guide the eye across a low relief of erosion and sedimentation, transforming simple divisions into active spatial and perceptual events. The structural arrangement of these abstract planes maintains a dialogue with landscape structures, echoing the territorial focus of Richard Diebenkorn. Within the SITUS series, the distances between these color blocks and the sharp-edged yellow bands at the lateral borders suggest horizons and spatial boundaries, creating a sense of formal equilibrium. Finally, a vibrant crimson square on the upper boundary and smaller red, black, and light blue square units introduce a rhythmic, scale-defining presence akin to the signs of Paul Klee. Suspended at the intersections of the incised lines, these elemental forms generate a quiet tension between isolation and belonging that questions the relationship between forms and space.

All declared affinities