This later work by Sarri incorporates elements of early European modernism in its composition and spatial arrangement. The pastel palette contrasting with bold colours and geometric shapes suggests the influence of Kandinsky. Sarri also drew inspiration from Fernand Leger in many of his earlier works, including ‘Guardiano’ (1970). His repeated depiction of machine parts echoes Leger’s ‘Mechanical Period’ which focused on early twentieth-century concerns about the rise of modern technology.

While Sarri’s earlier works suggest a neatly arranged interior space, the elements in ‘Fernand Leger contro King Kong’ are arranged in a more random and two-dimensional fashion, creating an aesthetic reminiscent of a Modernist collage. Here, Sarri precariously assembles fragments of architecture, animal forms, mechanical parts, and inverted human figures to achieve a highly stylised and surreal effect. The painting combines references to popular culture, including images from the iconic film ‘King Kong’, with geometric elements. Unlike Sarri’s earlier paintings, which are often in a state of highly charged stasis, this work is boldly dynamic with a heightened sense of motion.