Sergio Floriani starts from the traces of man, from the imprint left as a sign of identity (unique and personal), to reach infinity. His is an evolutionary path that includes sign, form and space, but does not forget the continuous dialogue with matter, which makes him explore the possibilities of painting and sculpture (two elements that always coexist in Floriani's works) and ranges from corten steel to tin, from tar on Japanese paper to sand on lead, while the color sometimes lights up in more lively, almost pop tones, and others, for example when it depicts the contours of the lake or alludes to the voices of the soul, is able to collect itself in soft and silent gradations.

The exhibition will start on April 29 in Novara, and then continue in June, with a selection of works, at Villa Gippini (Orta San Giulio) and will collect the last thirty years of the artist's work, through a path that does not want be chronological, but thematic and iconographic. The path, in Novara as in Orta, will start from the large sculptures in corten steel and tin, which are an identifying sign of the artist's work.

In the 11 rooms on the first floor of the historic Visconteo-Sforzesco castle, about a hundred sculptures will be placed: from Divido per otto (2003) to Totem (2015) where the fragment alternates with lightness and transparency; from Signum (2009) to Cerchi d'acqua, two series in which words (in the former) and color (in the latter) trace a new alphabet of letters and shapes, passing through the latest generation of colored reliefs, small and large boards on which the color extends without nuances and the shapes that emerge, distant sisters of the first fingerprints, stain the surface transforming it into cosmic matter. The most recurring theme is the relationship between form and space, and in the latest works this correlation is underlined by the presence or absence of frames: in the first case a golden frame, often from the period, marks the perimeter and contains color, but at the same time embellishes it, "historicizes" it and concentrates it, giving it strength and mysticism; in the second case, with the suppression of the wooden edge, the color returns free to expand and merge with the surrounding space, in an almost philosophical dimension.

Some of the most significant works will instead be placed in the rooms of Villa Gippini, in harmony with the architecture of the building, with the light and color of the lake, that lake which was also an inspiration for Antonio Calderara, an artist who Floriani he has always admired and whose advice convinced him to devote himself definitively to art.