Born in Rome in 1963, attended Gymnasium and got a senior degree in Civil Building Engineering with a speciality in Urbanism, in Pisa. In 1991 DV begins collaborating with the Gharib-Villas Architecture Studio in Verona, by dealing with conceptual and planning experiences typical of the so called Deconstructivism and by getting deeply into interpretation of images and architecture through projects and writings. The work done on this, permits them to win two prizes for public architecture contests and leads to the publication of writings and drawings on several international magazines for the very first time in Italy as an experience of project/concept installation of Deconstructivism. The incommunicability of idea is the initial skill of DVs present representations but they dont represent neither a story or an ideal concept of his own, on the contrary they express the denial of possibility to reach univocal meanings in the process of enjoying the work in itself. The Deconstruction of the idea, finally represented in this case is developed by shaving the not-meaning in the connected representation of superimposed layers (space-time) which are equally potential towards the final result. The placing (or displacing) of layer does not consider either a defined time or a defined space, they have not got chromatic priorities, not a superimposition arrangement, they include just the contemporaneity of old components we have been just talking about, a changing contemporaneity where at first the chromatic or time or space aspect is preferred, the signifying aspect by searching a logic and grammatical thread among the represented elements. The research and affirmation of equipotentiality of each portrayed element, the absolute neutrality of each observation point of view or every reason of an observation besides being basic concepts of design even deconstructivist building deny those who claimed to give functions and meaning to architectonic objects by inhibiting completely the interpreting processes of observation in the name of meaning despotism . The use of writing on canvas is at this point a weak key of the puzzle for the observer but this often hides a dislocation game between the mentioned text and the real meaning which is understood by the majority of people or through a less deep observation. Few element of DVs paintings which oblige to meditate in a alternative way include the earlier drawing technique and the drawing project which is the basement of representation on canvas, the link of more diachronistic events through the black lines which tie together the figures and their collocation in the space-time coordinates and which generate also the plot or the network of the meant stories and also the drawing stream without solution of continuity which absorbs the different elements into a unique multidimensional outline but when it is ideally projected on the surface of canvas it creates a linear overall, a wire frame which asks for the use of colour; the use of different colours also on not congruent elements, the use of different colours on congruent elements instead, the presence of concurrent perspective layers which are cut through space/time secants, the use of shaded chromatism to delimitate different moments even if concurrent in the drawing, the constant presence of human figures and their asexuality even if physically exuberant but never completely female or male, without having a real signifying autonomy, which a real only in relation to the final combination, which is more or less evictable but never definitive and the mutual interaction on canvas and in the exhibited theme. The dislocation of common thought is one of the keys to interpretate DVs works, and also the deconstruction of representative rituality of the portrait, of stories, space and time, the improbability of shade of colours, the fusion of drown fields into different moments, but even in the same whole which is immediately and synthetically understood as a story. A story which is a tale about daily life in its de-viate and de-bilitated forms.
