On 19 September 2023 at 19:00, the personal exhibition of Sergio Sarra (Pescara, 1961) will be inaugurated at the Roman National Museum - Palazzo Altemps nature , curated by Lorenzo Bruni and Ludovico Pratesi and specially conceived as a journey inside the noble apartment of the building, from the Sala Isiaca to the Sala grande del Galata , where the artist's works are compared with the collections of classical sculpture conserved in the museum, belonging to important aristocratic families such as the Ludovisi, the Altemps, the Riario and the Brancaccio.

Indicative of the project is the title of the exhibition, nature , understood in its definition of future participle of the Latin verb nascor , as what will be generated, which will be produced spontaneously. It is a declaration that reveals the creative approach of the artist who has devised a narration centered on the theme of the figure in its relationship with space, through rarefied relationships between line and colour. "I entered the halls of the building - explains the artist - imagining non-invasive works, which interpreted the history and the visual and symbolic stimuli that are present there". Sergio Sarra's intervention consists of 24 works that reflect on the painting object and on the role of the viewer solicited daily by the current hyper-information. “The National Roman Museum is pleased to thus continue a tradition of exhibitions linked to the relationship between classic and contemporary, which in the Palazzo Altemps site has already seen the interventions of Matthew Monahan (2016), Alfredo Pirri (2018) and Elisabetta Benassi (2019 )”, declares Director Stéphane Verger.

The acrylic paintings, on wood and on paper, were conceived by the artist as zeroed images, almost contemporary icons, possessing a silent but profound energy, which increases the hieratic and solemn strength of figures concentrated in their absence. Hung on the walls with the ancient system of cords or placed on wooden consoles and supports, these works have a particular evocative quality, they suggest ghostly forms, which undertake visual relationships with the sculptures present in the rooms, determining unprecedented and unexpected relationships with masterpieces by Egyptian, Greek and Roman art, from Torello Brancaccio to the Ludovisi Throne.