Sergio Verastegui

Sergio Verastegui sees his art as an archaeologist watches his excavation field. Deploying a methodical exploration of reality to extract its underlying objects, the artist manipulates his findings to transform them into fragmented works. Thus of its Ecdysis – a term designating the moult of the exoskeleton of the anthropods -, assembling within agglutinated layers pieces of what has been or of what is. Here, Gold, honeycomb, honey and bees reflect the substance of a world sewn of shreds, perforated, dislocated. Is it nature that contaminates art, represented by the traditional material of gold leaf, or is it art that takes precedence over nature by filling its gaps? Sergio Verastegui does not answer, simply questioning through the notion of memory, time and space, the reality that he has seized.

The artist considers his work as the articulation in space of realities that are incomplete or, like language, do not have their own physicality. As he likes to repeat, «When you cut off people’s arms, they continue to ache until they see it in a mirror, or a screen.» By the stratification of layers of meanings, Sergio Verastegui delivers polysemic pieces, comparable to palimpsest manuscripts that have to be scratched to discover the first state. His Intestines 1 and 2 integrate this polysemic dimension and the setting in motion of a signifying form. This pieces become then the link between language and reality. Combined with the pictorial materiality, the language is integrated into the space through an organic sculpture – strictly speaking.


Sergio Verastegui was born in 1981 in Lima (Peru). He lives and works in Paris.


  • 2006-2010 / DNSEP à la Villa Arson, Nice
  • 2002-2004 / Escola de Artes Visuais do Parque Lage, Rio de Janeiro


  • 2019 / Temporary Spaces, Institut Français, Madrid, Espagne Pellejos sueltos,
  • La Vitrine, FRAC Ile-de-France, Paris
  • 2018 / (S)CRYPTE, Galerie Thomas Bernard, Paris, France
  • 2017 / Skelettons, La Métive, Moutier-d’Ahun, France
  • 2016 / Pellejos Sueltos, Salón, commissariat : Tiago de Abreu Pinto et Francesco Giaveri, Madrid, Espagne
  • 2015 / Lines eyes lies, sp-arte 2015, São Paolo, Brésil


  • 2019 / Art-O-Rama, Friche Belle de Mai, La Cartonnerie, Marseille
  • The Sound of Silence, Praz Delavalade, Los Angeles
  • 2018 / Intoto 6, Fondation d’entreprise Ricard, Paris, France
  • 2017 /BIENALSUR, Musée national des Beaux-Arts, Buenos Aires
  • 2016 / Mi casa tu casa, Casa Imelda, Mexico City
  • 2015 / Dust : The plates of the present, February 2013-July 2015, Baxter St/Camera Club of NewYork, New York
  • 2014 / Quelque chose à vous dire, Galerie Thomas Bernard – Cortex Athletico, Paris
  • Les Ruines Circulaires, Meetfactory, Prague
  • 2013 / Salon International Jeune Création, Centquatre, Paris, France
  • 2011 / Musik fur Kreisverkehre & Sculptures for Rondabouts, Golden Pudle Club, Hambourg
  • 2009 / 54eme édition du Salon de Montrouge, Montrouge


  • 2017 / La Métive, résidence en partenariat avec le LMB de Felletin, le FRAC artothèque Limousin et le musée de la Sénatorerie de Guéret, Moutier d’Ahun, France
  • 2015 / Casa Imelda, Mexico City
  • 2014 / Meetfactory Residency, Prague


  • FRAC Bretagne / MAMCO, Genève / FRAC Limousin / Artothèque du Limousin / CNAP – Centre National des Arts Plastiques / Frac Ile de France / Capc musée d’art contemporain de Bordeaux


  • 2013 / Show-Room Art-O-Rama Prize, Marseille
  • SYMEV Young Creation Prize, Paris