Thea Vallé - senza titolo

lito/serigrafia numbered and signed by hand (numbers 24-30 of 117 copies)

original multiplio, signed and numbered in pencil. Very small signs of time (more photos on request)

sold well wrapped and protected, without frame

bio Thea Vallé

Thea Vallé - born in Oleggio (Novara) in 1934, died in Vermezzo (Milan) in 1978 - had a very fast and brief creative path, due to her early death (44 years old). She had a notable presence in Italy with exhibitions in Milan at Galleria Diagramma with text by Luciano Inga-Pin, in Rome at SM13 in 1974 with text by Lara Vinca Masini, at Arte Centro in Milan, with text by Marisa Vescovo.

Today a renewed interest seems to involve her person and her work, a search of women who intend to restore value to the work of quality artists. Following in the footsteps of Lea Vergine who gifted to women and the art world The Other Half of the Avant-Garde.”

The artist, born in 1934 in Origgio, in the province of Novara, studied in Milan, at the Brera Academy of Fine Arts. In 1957, after a one-year stay in Paris, she travels for study to Germany, Spain, France, Switzerland and Yugoslavia. Between 1961 and 1965 she dedicates herself to painting research on matter and form.

Her first solo exhibition was in 1966 in Genoa; this followed by several other solo shows and participation in numerous group exhibitions. From 1967 she works on tridimensionality, being particularly attracted to the triangular shape that enters her early reliefs. Her work then evolves into a geometric–architectural research that leads her to use different materials to fully study their expressive potential: iron, wood, titanium, brass, aluminum, copper, steel.

Fiorella La Lumia in ‘Dialogo interrotto’, in Arte Centro 80 writes “… wood becomes her preferred material but she wanted, as always, that the material participate in her discourse through the development of its time” using pressed slabs.

It is not easy to stay true to one’s own research without letting external elements influence you, such as criticism, galleries, the market. Thea did it.

Thus Luciamo Inga Pin, wonderful gallerist, writes in ‘Ritratto di Thea’ in Arte Centro 80 “… I often saw her bent over her large table for whole afternoons, a turban on her head, a glass of wine at hand, almost as a artist from another time, outside the rush of the world. Even when she had entered the heart of competition, she continued to remain estranged from the turn-of-the-day strategies, the quirks of criticism. That, by then, was the path she had to follow to the end…".