His father was a construction contractor in Venice, and it was here that Sergio Franzoi enrolled in the artistic high school in 1943, at the height of World War II.

[1] Starting from 1948 until 1963, for fifteen years, Sergio Franzoi substantially participated in almost all the annual exhibitions of the Bevilacqua La Masa Foundation, with the exceptions of the editions in 1951 and 1954.

[2] In 1948, at the age of nineteen, while still a student at the Academy of Fine Arts in Venice, Sergio Franzoi participated for the first time in the 36th edition of the Bevilacqua La Masa, presenting the painting "Pescherecci".

[2] In 1960, Franzoi secured the second prize ex aequo with his artwork "Amanti" (Lovers), alongside Miro Romagna, Sergio Perolari, and Domenico Boscolo.

[2] In the meantime, by 1954, Franzoi had become a teacher at the Academy of Fine Arts in Venice—a role he would later relinquish in favor of the position of ornate modeling at the Artistic High School of Venice.

Specifically, the last painting "Nudo" depicted a reclining female nude figure, portrayed with the rough style and customary black stroke that characterized much of his production during those years.

[2] The first prize awarded to Franzoi by the jury during the 50th edition remains one of the most emblematic instances of the classically traditionalist approach maintained by the Venetian foundation in the 1960s.

Noteworthy is the work developed in 1975, comprising a series of five drawings or preparatory cartoons composed of five mosaic subjects commissioned to the Musaicisti School of Friuli on behalf of the former Civil Hospital of Lido di Venezia.

[5] Specifically, the produced works depict "arrows," all traceable to the same abstract creative nucleus characterized by chromatic tones that play with the idea of movement.

[5] The completed mosaic is now visible inside the former Civil Hospital of Lido di Venezia in the area of the indoor pool overlooking the beach, on the northeast wall of the complex.

[6] The last decades of his artistic journey were characterized by refined and elegant explorations of the female nude; distinctive signs and colors came together in his artworks to rediscover the human body as a kind of landscape.

[7] Sergio Franzoi approached painting from an original experience, such as the sight of the sea, fishermen hauling their nets on the beach against the grand reflection of the sun on the waves, the ever-changing and captivating emergence of phenomena against the infinite and dazzling background of light, the uncertain and enticing boundary between the familiar and the unknown.

Spaces where dreams dance on the trajectories of gazes - unfathomable paths of desire - where unforeseen adventures, sweet unions, penetrations, warm embraces blossom in the soft blending of flesh.

In fact, figures and landscapes blur as the imagination ventures into paths destined to be lost in the whirlwind of fantasy, in an inexhaustible succession of encounters and situations.

He not only recognizes its freedoms but also senses the possible wear and tear, the ever-present risk of aphasia, perhaps due to representative virtuosity, redundancy, banal repetitiveness, or excess sensitivity.

Meanwhile, color loses its usual permeating property, not spreading across zones but rather concentrating in contrasting and seemingly external streaks, or allusively coagulating along linear contours.

To become part of it, the real must pass through the filter of the psyche, imagination, reason, instinct, finding a particular and unique configuration that transforms the phenomenon, things, the world, into an icon.

[8] Of course, Franzoi does not undertake such a challenging task without equipping himself with appropriate tools: in his works, memories of the silhouettes of French-language Maremman hippodromes emerge intact here and there, the refined teachings of Braque, dreamy fantasies of Klee, the very elegant enveloping undulations of Modigliani, and perhaps with greater insistence, the more tormented and venomous echoes of the linearisms of Klimt and Schiele.

While in his early works, the image appeared "centered," almost dominating space, now it seems to be scattered across the entire surface, probably signifying the loss of every certainty and foundation typical of our era.

There is indeed an irrepressible trust of ancient humanistic origin guiding and supporting his struggle against interchangeability and the infinite multiplicities that seem to characterize the chaotic world in which we are immersed.

[8] Reserved and stern in his gruff and proudly gentle demeanor, Sergio Franzoi, amidst the confused noise of the often incomprehensible systems of contemporaneity, continues to feel the civilized necessity to raise his hymn to love, the universal energy that binds together and causes beings to flourish.