Series · 2025–Present
LIMINA
Intermediate spaces where structure begins to shift.
About this series
In LIMINA, Maurizio Valch constructs territories of transit through superimposed planes, contained horizons, unstable enclosures, and suspended forms. The painting sustains an elemental architecture while seepage, drips, and incisions introduce a mobility that prevents any definitive orientation.
LIMINA names a condition of passage: the interval in which a structure still holds space, yet can no longer fully fix it. Maurizio Valch organizes these paintings through superimposed planes, horizons, enclosures, suspended blocks, and small forms that alter the scale of the pictorial field. Nothing quite offers a stable point of orientation. The compositions may retain the clarity of an elemental construction while also leaving open the sense that something is approaching, withdrawing, or passing through their boundaries.
This ambiguity corresponds to a persistent concern in Valch’s practice: territory does not appear as a recognizable geography, but as a surface where memory, matter, and thought take form without resolving into a single narrative. In LIMINA, this inquiry pauses at the threshold. The enclosures suggest protection or closure, but also access; the blocks may weigh as obstacles, bodies, or signals; the stairs introduce a direction without guaranteeing ascent, exit, or destination. The paintings do not seek to resolve this indeterminacy, but to remain before it.
The use of acrylic and oil on canvas accompanies this tension. Layers of colour, glazes, and incisions build a surface that seems to retain different decisions and moments of work. Drips and seepage do not cancel the structure: they pass through it, shift its boundaries, and make its fragility visible. The incised line does not act merely as an outline; it physically intervenes in the material and may function as a boundary, a route, or an incomplete connection between levels. Thus, compositional order does not appear as a closed law, but as something subject to pressure and transformation.
Within Valch’s body of work, LIMINA has its own identity: it is not a preparation for another territory, but an inquiry into the moment when finding one’s bearings ceases to be simple. His interest in transitional spaces finds here a restrained and precise pictorial form. The viewer may recognize an imagined architecture, a territorial expanse, or an inner experience, without needing to decide among them. What matters is the delay these paintings make possible: watching how a division holds space and, at the same time, how matter begins to overflow it.
This ambiguity corresponds to a persistent concern in Valch’s practice: territory does not appear as a recognizable geography, but as a surface where memory, matter, and thought take form without resolving into a single narrative. In LIMINA, this inquiry pauses at the threshold. The enclosures suggest protection or closure, but also access; the blocks may weigh as obstacles, bodies, or signals; the stairs introduce a direction without guaranteeing ascent, exit, or destination. The paintings do not seek to resolve this indeterminacy, but to remain before it.
The use of acrylic and oil on canvas accompanies this tension. Layers of colour, glazes, and incisions build a surface that seems to retain different decisions and moments of work. Drips and seepage do not cancel the structure: they pass through it, shift its boundaries, and make its fragility visible. The incised line does not act merely as an outline; it physically intervenes in the material and may function as a boundary, a route, or an incomplete connection between levels. Thus, compositional order does not appear as a closed law, but as something subject to pressure and transformation.
Within Valch’s body of work, LIMINA has its own identity: it is not a preparation for another territory, but an inquiry into the moment when finding one’s bearings ceases to be simple. His interest in transitional spaces finds here a restrained and precise pictorial form. The viewer may recognize an imagined architecture, a territorial expanse, or an inner experience, without needing to decide among them. What matters is the delay these paintings make possible: watching how a division holds space and, at the same time, how matter begins to overflow it.
Tags
contemporary abstract painting; territorial abstraction; minimalist painting; structural painting; brutalist painting; acrylic and oil on canvas; canvas; superimposed planes; horizons; suspended blocks; stairs; incisions; glazes; stratified surfaces
Series works
