mauro valsecchi


La teofania di Artemide

Five drawings in a frame. Drawings: Pigment powder on dusting paper. Frames: natural wood painted white. Dimensions: 44×32 cm each framed drawing; total size: 93×106 cm (approx.).

"Theophany as mirror of the impalpable nude, theophany as sensitive manifestation of divinity. Theophany: demon, self and god" Pierre Klossowski, The Bath of Diana

La teofania di Artemide

Mauro Valsecchi

pigment dust on paper

44x32cm cada uno


La penombra in Atteone

Mauro Valsecchi

pigment dust on paper

55x66cm con cornice


Questa notte fuori piove

Mauro Valsecchi

polvere di pigmento, spray su carta



Come una risata in un teatro vuoto

Mauro Valsecchi

pigment dust on paper




re-gen, the yah factory (yah), milano


Essenziale, paratissima, fondazione amleto bertoni, torino


scrittura a perdere, galleria fang arte, torino


stratificazioni di visioni, una torre per l’arte, antonella bosio, castellaro lagusello


il talento delle donne, maf, milano

il notturno, galleria itinerante, arezzo


taccuino selvaggio, millenium gallery, bologna


il corso delle cose, progetto ztc, milano


il tempo indeciso, sabrina drigo, milano


giocando sulla soglia, spazio cabinet, milano


flash art event, fm centro arte contemporanea, milano


barbarie, viafarini, milano


Mauro Valsecchi was born in Milan in 1992. He began his studies at the Enrico De Nicola Art School in Sesto San Giovanni, Milan. Subsequently he began a course of study in artistic disciplines at NABA, New Academy of Fine Arts in Milan, where he obtained a three-year degree in Fine Arts (B.A.), specializing in Painting and Visual Arts in 2014. He concluded his training at NABA with a specialist degree in Visual Arts and Curatorial Studies in 2018. His artistic research revolves around the perception of reality and the visions of everyday life which manifest themselves as imaginative projections; in his works he tries to bring back that wandering of vision with minimal lateral glances, to distract himself from the already completely interpreted world that he is watching, and find a thrill of perception that reopens every time, to let unusual images arise from accidental appearances that no one ever usually observes. All the drawings he produces do not have an illustrative imprint but maintain a strong relevance to realism. Over the years he has developed a particular drawing technique which involves the use of colored powders and pure pigments, which are pressed with tips or dragged with a smudge to mark the paper, finally fixed with a lacquer or a fixative spray. This technique makes it difficult to sketch subjects and places from life, so he made up for this technical complication by taking textual notes which then turned into drawings from memory. Finally, his need to give a three-dimensional body to these designed surfaces: to move the canonical point of view, to be able to go around them, to lower or tower over the user, to play with perception to fuel a vision. For this reason, drawings, texts, everyday objects and photographs often become sculptures, installations, which occupy other spaces besides that of the wall.

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