D A V I D E S A LV A D O R E ARMONIA
A R M O N I A B Y D AV I D E S A LVA D O R E My first exposure to Davide Salvadore gave me a lifelong visual memory. Aside from some images in books and magazines, I first saw his sculpture in 2006 at the Sofa show at Navy Pier in Chicago. He was exhibiting with the Traver Gallery from Seattle. They had a presentation of his Spingarpa and Chitamarra series inspired from musical instruments and I fell in love! As I examined these brilliantly created objects, I recalled a story that I had heard, of a great maestro who created large-scale works in a tiny studio. I heard that retired maestros and gaffers would gather outside drinking coffee and adding their comments, humor and opinions. I also heard that their comments belied their tremendous respect and admiration for this man and his work. It dawned on me that this man must be the creator of the work that I was admiring. Like most people, I have always appreciated the great techniques that made the world admire and covet Venetian glass. The century old techniques are nothing short of amazing. At the same time, I must be critical. So many of the Venetian forms and designs are steeped in history or if you will, in redundancy. The idea of making something that was unusual was greeted with a license to copy. “If you can make it so can I” was the mantra of Murano, which further led to a lack of individual identity. Of the hundreds of skilled glassmakers in Venice and Murano, this is the reason that very few exhibit in major galleries outside of Venice. As I interacted with these sculptures at SOFA, I realized that they had a refreshing disconnect in concept but not technique from the long-standing Venetian glass tradition. I thought we must exhibit this artist at HABATAT Galleries. Within 4 months, Davide was participating in our 35th Annual International Glass Invitational Exhibition. The following year we had our first one-person exhibition and since have proudly represented him each year at SOFA, Art Palm Beach and Wheaton Village, along with including his work in over a dozen museum exhibitions. We have also brought groups of collectors to his new well-designed and spacious new studio in Murano.
Cover: Tiraboson Steso
43.25 x 51.25 x 15.75 – Blown, carved glass
As a gallery, before we become committed to an artist, it is important for us to understand their personality traits; are they motivated? Do they have a good work ethic? Perhaps the most important, do they have sustained creativity. It did not take much research to find out that all systems were a go with Davide. Ideas and inspirations seemed to flow from him. Researching his previous work gave me a great understanding as to his desire to create works from his personnel experiences and insights. Some of these inspirations came from his passion for music and his early years of playing the drums in a professional samba band. This interest in different rhythms, beat and tempos led him to Africa and their tribunal music and instruments. The more that he experienced the vivid colors of the land and textiles, the simple spiritual honesty; he became inspired, as did many artists including Picasso, Gauguin, and Matisse. This is evident in his work in which he reinterprets and reinvigorates traditional African symbols, translating them into the medium of glass. He combines this with traditional Venetian techniques, such as incalmo, cane and murrine work, filigree and battuto. Using tools he designed and built, Davide Salvadore creates one-of-a-kind sculptures that push the boundaries of century-old traditions. He states, “They are not lifeless, but alive within themselves, containing memories of the past, sentiments about the present and aspirations for the future.” Each series punctuates this comment and increases my great respect for this maestro.
– Ferdinand Hampson
Murrindoli Achi 1
27 x 7.5 x 5.5” – Blown and carved glass
ARPA Davide Salvadore’s ARPA resembles a stringed instrument that has been played throughout history. These instruments have been excavated all around the world. Some have been discovered in Asia, Africa, Europe and South America and dating back as early as 3500 B.C.
Arpa Bali
33 x 7 x 14 – Blown and carved glass
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A gesture, a movement, a sunset, a panorama or a single word‌ Everything can be an inspiration. Everything at a minimum, as an impulse, which triggers creativity, mixed with passion and sometimes can be materialized in a project. A shape‌ or only another dream. D AV I D E SALVAD O R E
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Arpa Corno D’Africa
28 x 9 x 19 – Blown and carved glass
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TIRABOSON The sculptures created from this series are depicted by long necks and tooth shaped bodies. This unusual shape resembles a long-necked lute or a “langhalslaute.” There has been evidence that lutes date back to Mesopotamia 3000 B.C. The neck of these ancient instruments were typically made of light wood and the back or shell was assembled using maple, ebony or rosewood. The strings were made from sheep or other animals.
Tiraboson Pie
49 x 16 x 18” – Blown and carved glass
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Tiraboson Poro
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58 x 13 x 23” – Blown and carved glass
Although the TIRABOSON may resemble wood they are constructed with hot glass using Venetian glass blowing techniques.
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Tiraboson Ingadu
58 x 13 x 23” – Blown and carved glass
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Tiraboson Spirale
59.5 x 17.5 x 20.5� – Blown and carved glass
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VENETIAN GLASS BLOWING TECHNIQUES INCLUDE: Incalmo: Binging two hot glass pieces together to form one continuous piece of glass. Pulling cane: Stretching long rods of glass by heating glass up on the end of a blow pipe and pulling it across a room which thins the glass into rods or cane. Using multiple colors an artist can create murrine. Davide is one of the few artists that not only make their own glass but also their own murrine. Cold-working: Cutting away one layer of glass to expose another layer glass while the glass is cold or has been annealed. Different cold-working techniques result in different textures to the surface of glass.
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Davide’s mythological objects have been inspired by both the world’s inhabitance as well as musical instruments used or may have been used by different cultures throughout history. Davide’s exposure to different cultures throughout the world came to him at a young age. Growing up on the island of Murano, Davide was exposed to the vast melting pot of visitors from all walks of life. Many sight-seeing tourists coming to the island for a culinary experience, a gondola ride or to witness glassblowing for the first time. His fascination with the unknown strangers coming to Venice has caused the artist to travel and explore the world’s inhabitants. Davide observed the different cultures and became fascinated with the clothing or garb as well as the textures and landscapes of these foreign regions. Each unique sculpture has an imprint of one of these vast cultures the artist has been influenced by.
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Tiraboson Neco
58 x 13 x 23� – Blown and carved glass
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Tiraboson Raffeo
59.5 x 17.5 x 20.5” – Blown and carved glass
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Tiraboson Arle
56 x 10.5 x 19” – Blown and carved glass
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Tiraboson Rumin
57.5 x 17.75 x 22.25” – Blown and carved glass
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Tiraboson Vara
58 x 14 x 23� – Blown and carved glass
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ANCELLA Carrying baskets on one’s head is a common practice in many parts of the world. This balancing act is done usually for work, but sometimes in religions ceremonies to demonstrate a feat as certain dances that require the act. Evidence of this task has been written in the book of proverbs where they mention by demonstrating the act of basket on one’s head is an ancient way of repentance. The inspiration for the 2 necked ANCELLA is derived from basket carrying. Each neck represents each arm that helps balance the basket. 24
Ancella Mosi
39 x 15 x 6” – Blown and carved glass
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Ancella Tasi
46 x 14 x 6” – Blown and carved glass
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Ancella Sasli
24.5 x 10.5 x 4.5” – Blown and carved glass
Ancella 165
32 x 12 x 5” – Blown and carved glass
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Ancella Odiambo
37 x 13 x 5” – Blown and carved glass
Ancella Kyanga
33.5 x 13.5 x 5.5” – Blown and carved glass
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Ancella Tumu
37.5 x 13 x 6.75” – Blown and carved glass
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Tiraboson Tifa
30.5 x 9 x 11” – Blown and carved glass
Tiraboson Rigo
30.5 x 9 x 11” – Blown and carved glass
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Tiraboson Solco
31 x 9 x 11” – Blown and carved glass
Tiraboson
19 x 8 x 14” – Blown and carved glass
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SPINGARPA The SPINGARPA is depicted by two necks attached to a single body. One long at the top and a smaller neck at the bottom which the strings may stretch along the body connecting both glass necks by string to each other.
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Chitamarra Florin
42 x 12 x 20” – Blown and cast glass
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Spingarpa Tanto
32 x 11 x 29” – Blown and carved glass
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Spingarpa Tigala
45 x 11 x 24” – Blown and carved glass
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Spingarpa Engo
44 x 12 x 20” – Blown and carved glass
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Spingarpa Bechino
43.5 x 14 x 21� – Blown and carved glass
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Spingarpa Ogno
39 x 13 x 39” – Blown and carved glass
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Spingarpa Bascila
18 x 8 x 12” – Blown and carved glass
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Spingarpa Marlaba
19.5 x 7 x 13” – Blown and carved glass
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Spingarpa Siego
18.5 x 7 x 12” – Blown and carved glass
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Music has played an important role bringing cultures together ultimately to live together in harmony.
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Spingarpa Insebolo
22 x 8.5 x 14.5�
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Spingarpa Schiai
23 x 8.5 x 14” – Blown and carved glass
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Spingarpa Cirico
23 x 9.5 x 15” – Blown and carved glass
Spingarpa Arico
23 x 9.5 x 15” – Blown and carved glass
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Spingarpa Tambula
21 x 6 x 15” – Blown and carved glass
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Spingarpa Dolico 25 x 7 x 16” – Blown and carved glass 55
MURRINDOLI The Murrindoli series was created to pay homage to the people who have influenced Davide Salvadore in both work and life. A master glass blower, an accomplished musician, or a loving family member. By exploring this series, the artist expresses his appreciation for those who have helped him along his journey.
Murrindoli Achi 1
28 x 7.5 x 5.5” – Blown and carved glass
Murrindoli Alfi
27.5 x 7.5 x 5.5” – Blown and carved glass
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TAUPA, TUTRA and TATRA These objects created by Davide Salvadore hang on the wall and possess a similar pattern found throughout the ANCELLA series. However, TAUPA, TUTRA and TATRA resemble ancient reliquary. Perhaps a tool, weapon or ceremonial object used during a religious ritual.
Sphere Tantra
76 x 12 x 7” – Blown and carved glass
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Sphere Tutra
62 x 21 x 5” – Blown and carved glass
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Sphere Taupa
76 x 12 x 7” – Blown and carved glass
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COCOE The COCOE series was created while thinking of our early ancestors exploring sound using what could only be within ones reach. The nut in a tree, the fruit of the earth or in this case a single gourd.
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Cocoe Randola
29 x 12 x 20” – Blown and carved glass
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Cocoe Basciando
32.75 x 10.5 x 22” – Blown and carved glass
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Cocoe Ripelo
28 x 12 x 18” – Blown and carved glass
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Cocoe Stor
21 x 7 x 14” – Blown and carved glass
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Cocoe Sucula
13.5 x 4.5 x 9.5” – Blown and carved glass
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Cocoe Lulamena
17.5 x 6 x 12” – Blown and carved glass
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Cocoe Lupula
13.5 x 4.5 x 9.5” – Blown and carved glass
Cocoe Lelita
18 x 6 x 12” – Blown and carved glass
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Chitamuro Kela
33 x 11 x 3” – Blown and carved glass
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CHITAMURO The earliest stringed instruments where mainly plucked. The bowed instruments were developed by cultures of central Asia (modern day Mongolia) The CHITAMURO strings connect the neck directly to the body and are accompanied by a bow which both hang side by side as a single installation.
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Chitamuro Ingaua
43 x 14 x 4” – Blown and carved glass
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Chitamuro Ronco
40 x 14 x 4” – Blown and carved glass
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CHITAMARRA The CHITAMARRA resemble an instrument in the lute family. Traditional lutes’ bodies are connected by wood ribs joined by using adhesive. Davide’s CHITAMARRA have ribs much like the lute however, they are made by strips of glass and are connected using only glass and heat from a glass furnace for both support and adornment. Various types of necked lutes have been developed throughout the ancient world. They have been found used by the Greek, Egyptian, Iranian, Hittite, Indian, Chinese and American/ Cilician cultures. 78
Chitamarra Damin
32 x 12 x 18” – Blown and carved glass
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Chitamarra Stilan
32 x 12 x 18� – Blown and carved glass
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Chitamarra Romin
41.5 x 17 x 8.5” – Blown and carved glass
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Chitamarra Lumin
38 x 14.5 x 11” – Blown and carved glass
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Murrine are colored patterns with glass cane that are revealed when the cane is cut into thin cross-sections. The Murrine that Davide uses is annealed (brought down to room temperature), laid out in a pattern, heated up and picked up on the surface of a blown glass bubble. Some of the glass Murrine is blown-out expanding the imagery revealing a multitude of vibrant colors from meticulous patterns Davide has developed.
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Chitamarra Leca
41 x 14.5 x 18” – Blown and carved glass
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Chitamarra Tradi
15 x 6 x 7” – Blown and carved glass
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Chitamarra Nomat
10 x 4 x 5.5” – Blown and carved glass
Chitamarra Sanbugo
23.5 x 10 x 14” – Blown and carved glass
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Chitamarra Ramica
13.5 x 5.5 x 5” – Blown and carved glass
Spingarpa Anca
14 x 8 x 6.5” – Blown and carved glass
Spingarpa OB
14 x 4 x 6.5” – Blown and carved glass
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A R M O N I A B Y D AV I D E S A LVA D O R E
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