Over this period he strengthened his exhibition activity by taking part in many prestigious group shows and staging numerous solo exhibitions, among the most important those in 2000 at Galleria Art Point Black, where he presented for the first time his “Horizons” cycle, as well as those at Centro d’Arte Puccini and at the Villa Medicea of Poggio Imperiale. Also noteworthy is the 2004 exhibition at the Diocesan Museum of Florence with 12 works inspired by the Gospel of John, one of which is in the Museum’s contemporary collection, and the one at the Council of the Tuscany Region, where he showed 20 works of intense evocative abstractionism, one of which is part of the Regional Picture Gallery. Also in 2004 he took part in the International Florence Competition and won the first prize, the Fiorino d’Oro, for painting.

«The artist – as Giampaolo Trotta noted in 2003 - arrives at the Informal, while maintaining a solid “graphic” substratum, stemming from his well-established training in drawing and the figure, a quality indispensable even for artists who, through their work, move away from recognizable and perspectivally constructed forms. His abstract forms, - Trotta continues - drawn with the material plasticity, rippled and tormented of color (at times with distant late-Gothic echoes of German painting by Matthias Grünewald or the modern “signs” of Georges Rouault) applied decisively through broad, swift brushstrokes, trace broken lines and primary elements, often elementary crystal dihedra, decomposed and shattered in a kind of vital explosions. But it is light, a white and pure light like that dreamed of by Humanism, that intervenes, shaping and transforming inert matter».

In 2006 he was part of the “NE5” movement with four other Florentine artists, with whom he took part in various events, the most important being the exhibition at the Palagio di Parte Guelfa in Florence.

He was part of the experimental art group KPK (Kantiere post Kontemporaneo), with which he set up major installations such as “SEARCHING FOR” at the Loggia del Grano in Florence and “EXPANSION-PROJECTION” at Palazzo Medici Riccardi, also in Florence; with the same group he had the opportunity to broaden his artistic experience into contemporary performance and video art as well.

 In 2008 he was featured in the Italian art pavilion in Beijing on the occasion of the Olympics; one of his works is part of the CONI collection. In 2010 he began a collaboration with the American Damoka Gallery, which led to two solo shows in Los Angeles and New York.

An important solo exhibition was held in 2011 in the prestigious spaces of the Circolo degli Artisti Casa di Dante in Florence, on the occasion of the 150th anniversary of Italian unification.

He returned in 2013, in the same venue, presenting his latest works from the “Breaths of the Elements” cycle.

In 2016, another major solo show was held at the deconsecrated Church of Santa Maria dei Laici in Gubbio

His most recent appearances include 2016 in Amsterdam - Italian Cultural Institute, 2017 in Berlin – The Ballery Gallery, in London - ART MOOR HOUSE, 2018 in Stockholm at GALLERIA SVEA and in Moscow at GALERIA MASTERSKAYA LEGA

Numerous works are held in public and private collections.  

They have written about him:

ALVARO SPAGNESI, DINO PASQUALI, ROBERTA FIORINI, ELVIO NATALI, FRANCESCO SGANGA, FRANCESCA MARIOTTI, ANGELA SANNA, ROBERTO GAI, GIAMPAOLO TROTTA. FRANCESCA MARIOTTI, GIOVANNA SPARAPANI, ALDO MARIA PERO.

He does not seek to make painting of easy aesthetic appeal; his obsession is to represent the deep condition of existence and consciousness, the total expression of life.

 In his paintings, more than abstraction there is a non-figuration, or a figuration of the invisible as man’s existential condition, of his unanswered questions. The human figure never appears, yet its presence is felt: beside a window of light defined by dazzling white we see the looming mass of color and matter as a faceless protagonist, as an ожидание of hope, of reflection.

Works that show without narrating, barely hinting, that refer to deep atmospheres which, being invisible, reproduce them by revealing them.

In each of them one senses the construction of an imaginary perspective that starts from the center outward, calibrating matter and color; a perspective in which the spatiality defined on the canvas corresponds to the space of the psychic-perceptive being, and it is through this space, cut and violated by flashes of light, that the artistic gesture begins as the fulfillment of the pictorial act, condensing into a “form” and a “meaning”.

The artist offers the viewer a journey around himself in search of images hidden or deliberately buried in his inner landscape,

he wants to tell, with his canvases, a diary of recurring tensions, compressed emotions, fragility and existential peaks.

A journey into the depths of that human restlessness, the ongoing precariousness of being and of contemporary living.

 Francesco Sganga