Some of the passages from Marilena Di Tursi's presentation text to the solo show "Life, death, love and sin" at the Ninni Esposito Gallery are the following :

"The latest works by Luigi Filograno present figures, images, myths and symbols, taken from an eclectic iconographic basin in which live Goya's fatal omens, Botticelli's intangible and seductive beauty, Dalì's imaginary abstraction, gestural violence by Immerdorff, on different linguistic latitudes, Damien Hirst and Rebecca Horn, Jan Saudek, Robert Mapplethorpe, David Nebreda, Joel Peter Witkin. (......).

They are complex scores, as the artist calls them, redundant, baroque in their references, more or less decorative or intriguing, supported by different techniques on an ambiguous style between photography and dexterity. Filograno interprets the drawing and the elaboration of the painting, managing a "post" practice, a cultured mannerism full of estrangements, able to hold together disparate visions with a background in which broad spectrum cultural influences lie. (......) ".


Luigi Filograno (Puglia - Italy), has used over time various expressive techniques (oil / acrylic / polymateric on canvas or other supports), but in the last twenty years he has mainly adopted drawing on wood and / or mixed techniques that blend design together , Print, collage, enlargements ,always on wood. The media used are the most varied. Deliberately the wooden surfaces of his works appear rough, engraved, encrusted, full of roughness. A sort of metaphorical reference to the harshness of the life cycle.Filograno aims to revisit the art of the past in a contemporary key, with references to medieval Italian art and the Renaissance, but also has many conjunctions with contemporary art, not necessarily figurative. His initial research topic was the yearning for a desirable condition of balance by man, on several levels, human and existential, environmental, political. This led to a wider reflection on the finiteness of existence, on the link between eros and death, on the ephemeral nature of many presumed values, such as fame, wealth, power, beauty. Consequently, recurrent research themes were also those concerning the erroneous and perverse energy policies used by contemporary man with alteration of the environmental balance. His denunciation in this field is further evidenced by his sculptures which see different wood essences penetrated by steel and other materials. Filograno also has an engineering degree, with an architectural address, and has parallel work experiences alongside the main artist, in the field of internal and teaching in related disciplines.

He has participated in numerous solo and group exhibitions , including the Venice Biennale 2011 (Palazzo delle Esposizioni in Turin - Sala Nervi - Italian Pavilion and Palazzo Ca 'Zanardi - Venice), the Contemporary Art Fair in Copenhagen (Art Nordic) 2018 ); he received awards in the design section such as Basi Prize 2011 (Tuscany), and some works are present in museums such as Museum Allotropya (Delphi - Greece) and Boston.

Publications: "Materika" - 2018 - Cosimo Antonino Strazzeri; "Beauty and Roots" - 2014 - Cosimo Strazzeri - ISBN 978-88-89458-04-4; "Luigi Filograno: Of life, death, love and sin" - 2016 - Ninni Esposito Gallery; "Luigi Filograno: It is not all roses" - 2013 - Editions of the Francesco Foresta Gallery - ISBN 978-88-940010-3-7; Apuliamagazine - 2014 - Alessandra Dall'Olmo; Basi Prize for Contemporary Art 2011 - Silvia Petronici / Barbara Madrigali; Espoarte 2012 - Ruggero Maggi - ISSn 2035-9772; Tibet Pavilion Venice Biennale 2011 - Ruggero Maggi; Amisuraduovo - 2007 - Spaziosei Gallery; KosaKaos - 2010 - Elisa Govi; Modi, Bari.