Sergio Cerchi exhibits at Galleria Gagliardi since 2011.
Sergio Cerchi 1957. He graduated from the Art Institute of Porta Romana and attended the courses of the Cherubini Conservatory (Florence). His training included from a young age contiguous experiences of music and visual arts: two inseparable passions, cultivated with tenacity and determination that led him to attend the workshops of some artists and playing in various musical groups. He started painting around 15 years, experiencing different techniques and approaches, to the maturing of his personal style. "Figures and geometries" make up his vision of reality, marked by a boost ethics that expresses not only artistic values, but philosophical, historical and psychosocial. From the first works with landscapes and views, it has evolved into evocations "cubist" and reworkings of his own life, which have radically changed the 'material and coloristic facility. Subjects and backgrounds multiply in his painting as on a music pentagram, fading horizons planes and volumes, in which the figures and details emerge legible and compounds in an absolutely original way. Shades of oil paints with warm tones red carmine, mixed with ocher, green and blue to ancient sages with shades of light gray, they create sculptural elements, emblematic of materials and substances of the greatest masters of Primitive art from the Renaissance, which is precisely nourishes poetry and painting of Sergio Cerchi. Sergio Cerchi works in what could be called quadrant-ism, a unique style whereby the actual pictorial surface-rather than objects depicted-is fractured, multiplying and rendered with different lighting and coloring. Most of Cerchi's paintings are rendered in different shades of a dominant hue, though it may become bolder or softer depending on the movement and angle of the fragment it appears on. Thus, while aesthetic that marks references to popular culture and art history, their images are peeling, shifting and floating. By presenting us with characters in an object world that is never quite settled- or rather, constantly discovered in a process off resettlement- Cerchi explores the subtleties of time and color, of shading and layering. No shape is final, no perspective absolute, no color completely explored and exhausted. His iconic subjects, then, take on mysterious edges that completely faithful realism could never define. For every choice Cerchi makes, he reveals myriad possibilities.
Many personal exhibitions in public spaces and museums.
Many art critics have written texts on his work, including: Giovanni Frullini, Rossella Campana, D. Camiciotti, Lupoli, Giovanni Faccenda, Benjamin Suttom, Isabella Del Guerra, Ilaria Ricci.
Galleria Gagliardi - September 2015
On the pediment of the temple of Apollo at Delphi, were the words: gnoti sauton, meaning, "know thyself", but can we really say that we know ourselves? Our real SELF, our innermost nature?
The road to knowledge is steep and long and, perhaps, not even when we reach the end of our life, can we say “this is me”.
It is even harder if we accept the fact that, inside ourselves there are two SELVES, Us and our Alter Ego, what we are in our real life and then our projection, what we would like to be in a world in which we would like to live.
In art and in literature, like in film and theatre, we find many examples of construction of “self” immersed in an imagined reality. In this case, the pictorial works by Sergio Cerchi are mirrors of a “veritas” of our imaginary world, where our Alter Ego finds a habitat in which its projection recognises its dream; a world in which we transform ourselves into a goddess or an Amazon, into a musician or a warrior, or in a man waiting for an event to occur. Other paintings, on the other hand, evoke surreal situations in which objects are in a precarious position and in a discordant assembly but, nevertheless, in an absolute harmony and in which, if we look carefully, we can find hidden symbols and cryptic messages.
Cerchi’s painting attracts, it forces us to observe things in detail and to think. The division of his paintings into segments creates the effect of theatrical sets which purposely distract and disorientate, almost as though to maintain an air of mysterious enigma.
Isabella Del Guerra, 2015