Sergio Sarri

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. ...

Established in 2020, Fitzpatrick Gallery is focused on an international program of curated projects in site-specific venues worldwide, and on-site exhibitions at their primary location in Paris, inaugurated in September 2021 in the Marais gallery district at 123 rue de Turenne. They are involved in every level of production with their represented artists, working in close collaboration with institutions, publishing houses, advisory firms, and other partners. Fitzpatrick Gallery builds on the legacy of Freedman Fitzpatrick which was established in 2013 with locations in Los Angeles and Paris. ...