{"id":135,"date":"2026-10-06T19:50:15","date_gmt":"2026-10-06T19:50:15","guid":{"rendered":"https:\/\/sergiobrambillasca.com\/?page_id=135"},"modified":"2026-10-23T18:12:19","modified_gmt":"2026-10-23T18:12:19","slug":"works","status":"publish","type":"page","link":"https:\/\/sergiobrambillasca.com\/?page_id=135&lang=en","title":{"rendered":"WORKS"},"content":{"rendered":"\n

2014 \u2014 The Sea Through the Artist\u2019s Eyes<\/h2>\n\n\n\n

In Sergio Brambillasca\u2019s painting, the sea takes shape through the interplay of light, colour and material. Rocky coastlines, boats and reflections on water are more than landscape elements: they form part of a pictorial construction in which gesture and surface play a defining role.<\/p>\n\n\n\n

Broad expanses of blue meet powerful dark marks, while sails bring chromatic contrasts across the composition. Other works from the same period reveal a more essential approach, in which material and mark-making take precedence over the precise depiction of a subject.<\/p>\n\n\n\n

From 15 to 30 November 2014<\/strong>, this body of work was presented in \u201cIl mare secondo l\u2019artista\u201d<\/strong> at the Galleria d\u2019Arte Acerbi in Cremona<\/strong>. The exhibition documents a significant stage in Brambillasca\u2019s development, with the sea as a field of pictorial research that would continue in subsequent years.<\/p>\n\n\n\n

\"Riflessi,
Riflessi \u2014 Sergio Brambillasca, 2014<\/figcaption><\/figure>\n\n\n\n
\"Movimento,
Movimento \u2014 Sergio Brambillasca, 2014<\/figcaption><\/figure>\n\n\n\n
\"Documentation
Exhibition documentation \u2014 Galleria d\u2019Arte Acerbi, Cremona, 2014<\/figcaption><\/figure>\n\n\n\n
\"Documentation
Exhibition documentation \u2014 Cremona, 2014<\/figcaption><\/figure>\n\n\n\n
\"Archival
Exhibition archive \u2014 \u201cIl mare secondo l\u2019artista\u201d, 2014<\/figcaption><\/figure>\n\n\n\n

2015 \u2014 Between Ancient Texts and Conceptual Art<\/h2>\n\n\n\n

From 7 to 23 February 2015<\/strong>, Sergio Brambillasca presented his paintings at the La Fenice Art Gallery in Sanremo<\/strong> in the exhibition \u201cTra testi antichi e arte concettuale\u201d<\/strong> (\u201cBetween Ancient Texts and Conceptual Art\u201d), which opened on 7 February.<\/p>\n\n\n\n

The works on display belonged to the pictorial research already developed in 2014: the sea, coastlines and boats offered opportunities to explore light, colour and material. Rather than marking the start of a separate body of work, this exhibition documented the continuation and public presentation of that research.<\/p>\n\n\n\n

The original exhibition poster records this event at La Fenice, Via P. Z. A. Muccioli 5, Sanremo.<\/p>\n\n\n\n

2015 \u2014 Torre delle Arti, Bellagio<\/h3>\n\n\n\n

In 2015, Brambillasca\u2019s exploration of the sea was also presented at the Torre delle Arti in Bellagio<\/strong>. A photograph of the installation documents a large-scale seascape composed of several panels, extending the landscape across the exhibition space through light, coastlines and expanses of water.<\/p>\n\n\n\n

This photographic evidence complements the Sanremo exhibition and confirms the continuity of his research into the sea. The precise title and dates of the Bellagio exhibition have not yet been documented.<\/p>\n\n\n\n

2016 \u2014 Across the Sea, Milan<\/h2>\n\n\n\n

From 23 March to 23 April 2016<\/strong>, Sergio Brambillasca presented \u201cAttraverso il mare\u201d<\/strong> (\u201cAcross the Sea\u201d) at Le Trottoir \u00e0 la Darsena<\/strong>, Piazza XXIV Maggio 1, Milan. The opening took place on 23 March at 7:30 p.m.; the exhibition poster names Michelle Vasseur<\/strong> as curator.<\/p>\n\n\n\n

The exhibition continued the exploration of the sea documented in the shows of 2014 and 2015. In the same year, Siediti e osserva<\/em> also revealed the developing investigation of human profiles and the perimeter as a space of representation: two moments within one evolving artistic journey, rather than separate stories.<\/p>\n\n\n\n

2016 \u2014 Sit and Observe<\/h2>\n\n\n\n
\"Siediti<\/figure>\n\n\n\n

Sergio Brambillasca \u2014 2016<\/strong><\/p>\n\n\n\n

Siediti e osserva<\/em> (\u201cSit and Observe\u201d) marks a fundamental moment in the development of Sergio Brambillasca\u2019s artistic language.<\/p>\n\n\n\n

A perimeter defines the space of the artwork. Within it, a central human profile, formed by a black mass, enters into dialogue with other presences suggested through line and mark.<\/p>\n\n\n\n

The rectangle is not merely a compositional frame: it becomes a symbolic theatre in which presence, absence and observation meet.<\/p>\n\n\n\n

The title introduces an essential element: the viewer. Siediti e osserva<\/em> is not simply an invitation to look. It calls for participation through the act of seeing, asking us to question what is visible and what remains concealed.<\/p>\n\n\n\n

The work bears witness to a search in which the mark is not simply a graphic exercise but becomes a language. The perimeter defines the space; the profiles introduce human presence; the viewer completes the encounter.<\/p>\n\n\n\n

These elements form a structure that continues to evolve in the artist\u2019s subsequent work, through painting, sculpture and participatory projects.<\/p>\n\n\n\n

The work does not merely invite observation: it asks viewers to recognise their own presence before it.<\/strong><\/p>\n\n\n\n

\"Documentation<\/figure>\n\n\n\n
\"Documentation<\/figure>\n\n\n\n

2017 \u2014 AS ART: Cover and Feature Article<\/h2>\n\n\n\n

In issue 0 of AS ART \u2014 Visual Art Magazine of Contemporary International<\/strong>, published in November\u2013December 2017<\/strong>, Sergio Brambillasca was featured on the cover and in an article dedicated to his artistic work.<\/p>\n\n\n\n

The cover image combines the artist\u2019s face with a seascape and a human profile drawn in red. The publication documents the public appearance of this distinctive mark in 2017, making visible the connection between his exploration of the sea and his developing language of profiles.<\/p>\n\n\n\n

2017 \u2014 Laurel<\/h2>\n\n\n\n
\"Laurel,<\/figure>\n\n\n\n

Sergio Brambillasca \u2014 2017<\/strong><\/p>\n\n\n\n

In Laurel<\/em>, painting becomes theatre. A female figure occupies the centre of the composition, while the sofa, curtain, frame and animal presence create a stage-like setting where reality and representation meet.<\/p>\n\n\n\n

The woman is not merely portrayed: she is the focal point around which the entire work is organised. The frame behind her introduces a second space within the composition, while the red curtain evokes the language of theatre, suggesting a scene opening before the viewer.<\/p>\n\n\n\n

The arrangement of these elements is deliberate. The central figure and the relationship between spaces point to a recurring concern in Brambillasca\u2019s work: the perimeter as a place of representation.<\/p>\n\n\n\n

Compared with the essential visual language of Siediti e osserva<\/em>, Laurel<\/em> uses a different pictorial approach while retaining a fundamental principle: the artwork is a constructed space in which every presence contributes to its overall meaning.<\/strong><\/p>\n\n\n\n

Painting does not simply describe a scene. It determines relationships, hierarchies and the point towards which the gaze converges.<\/p>\n\n\n\n

2018 \u2014 Mediterraneo: Image and Poetry<\/h2>\n\n\n\n

In 2018, through \u201cMediterraneo\u201d<\/strong>, Sergio Brambillasca brought his visual language into dialogue with the poetry of Paolo Levi<\/strong>. Presented in Cremona, the project brought together 21 compositions<\/strong> in which drawing and poetry confront the tragedy of lives lost in the Mediterranean.<\/p>\n\n\n\n

The human profile and the economy of the mark become ways of restoring presence and identity to people who risk being reduced to numbers in public discourse. The encounter between image and written word extends the artist\u2019s research: rather than merely illustrating poetry, the two languages meet around memory and the responsibility of looking.<\/p>\n\n\n\n

Paolo Levi \u2014 Original 2018 Testimony<\/h3>\n\n\n\n

This original recording documents the encounter between Sergio Brambillasca and Paolo Levi around Mediterraneo<\/em>. It is a first-hand record of the artistic dialogue between drawing and poetry. Levi’s own words remain available in the audiovisual source; no unverified quotations have been attributed to him.<\/p>\n\n\n\n