Towards the end of the 1950s, Sergio Sarri embarked on a journey to Europe where he pursued painting courses in Bern and Paris. Following his visit to the United States in 1965, Sarri's artistic research circled around the relationship between man and machine, eventually becoming a prevalent theme in his oeuvre. His passion for comics prompted him to publish comic stories under the pseudonym SeSar in magazines like ‘Corto Maltese’, ‘Heavy Metal’, and ‘Comic Art’ during the late 1980s. Sarri's fascination with technology and progress led to his production of paintings that resembled science-fiction film posters from the late 1970s. One of Sarri's works, ‘Il Grande Robot (1979), bears a striking resemblance to Futura, the android from Fritz Lang's 1927 film ‘Metropolis’. The incorporation of materials such as plastic wire, aluminium strips, and padded synthetic leather on Sarri's canvases contribute to the interplay between reality and fiction. In his piece ‘Fase 4, esecuzione’ (1975), these materials are used to create the image of a body suspended from ropes,  imparting an abstract and sculptural quality to the work.

Fitzpatrick Gallery

Venice Biennial

Venice

Manifesta

Turin

Artissima

Milan

Gió Marconi

Paris

Freedman Fitzpatrick

London

Robilant & Voena

Mazzoleni

Florence

Tornabuoni Art

Rovereto

Mart

Musée D'Art Moderne De Paris

Palazzo Reale

Sergio Sarri

Studio per Segnali

Manometro A

SCHERM D'ANALISI CON FIGURA E ATTREZZO