Roberto Vitali, 1987

Many works, created on large surfaces and often multidimensional, bring together cosmic mysteries, variations in volume, formal completeness, and connections with reality— all in perfect harmony. They follow well-defined patterns, marked by a crescendo of dances, explosions of light, moving stars, and cosmic landscapes, where the key to interpretation becomes complex and multifaceted, thanks to the richness of imagery emerging from each individual layer. This is, of course, the result of years of consistent work, of

openness to stylistic evolution, and of a continuous search for identity. Sergi has fully embraced this journey, successfully highlighting a remarkable potential that will surely take him far along the path of artistic recognition—a path for which all these years of dedication have been truly worthwhile. But that’s not all. Alongside all this light and this outward expression of inner struggle, the same symbolic models are reflected across cultures, with the same depth with which they penetrate the layers of the pictorial fabric. And while the sculptures certainly follow a balanced and coherent artistic discourse, it is the large number of paintings— especially the most monumental—that immediately draw the viewer’s attention, thanks to the dynamic interplay of light and color that enlivens the vast exhibition spaces. In short, this is a rich and well-balanced exhibition, both in terms of the quality and quantity of the works on display, and in the continuity of its narrative thread, which unites the entire creative process in an articulate and coherent manner.

Giuseppe Vese – 1987

Among young artists, Luigi Sergi seems to be one of the most interesting. While a certain baroque taste is perceptible in him, it is merely an element of his pictorial work, or rather a simple starting point. For Sergi, it is about exalting space, but not a single space. Rather, he ideally intersects different spaces by playing on the assembly of their fragments and rejects the smooth surface of the support until he brings out movable planes that slide towards “sculpto-painting.” And in the end, his discourse leads to an abstraction not coldly rational but supported by inventive capacity, perhaps through the apparent “casuality” of juxtapositions. In short, Luigi Sergi’s work presupposes a solid cultural foundation and a refined taste for all that is modern.