His extensive artistic journey spans across all mediums, from painting to photography, video, performance, installation, and monumental sculpture. In his early years, he was associated with informal painting, but by the late 1960s, he adopted a more militant stance, particularly evident in works dedicated to Cuba and Lenin. In the following eighties and nineties De Filippi (temporarily) abandoned “the garments of the social agitator” to inaugurate a “pause […] for reflection”, as he wrote in a text composed for an exhibition at the Studio Trisorio in Naples. His art goes back to its origins, to the myths of the Mediterranean, without however abandoning the will to say, to speak: the words, in this case almost whispered, are lost in the waves of the sea – once again – and then disappear completely. On the other hand, the Architetture del mare (Architectures of the sea) take shape characterized by a classicistic geometric rigor, solitary at first, then populated by mythological figures and finally by trees: “perfect expression of the mystery of life”, the latter represent the mind, the “thought thought” traveling through the branches of an intricate nervous system. Over time the trees fully conquer the artist, imposing themselves as the only subject of his works: in the 2000s they are charged with Pop atmospheres – a reference to when it all began – as a background to colored words that come back to the fore to compose a “new narrative”. And finally, it is in the latest works that his research reaches its maximum noise. The concepts that have always characterized the artist’s thought are back – Art, Revolution, Ideology, etc. – but this time they burn in the flames of the fire: a ritual that involves their extinction – as in the case of the sea that erased the words on the beach – but this only serves to give them greater power, a definitive affirmation.