The writing on the wall
In a way, fresco painters can be considered to be nearer God than other types of artist
Fresco painting is the oldest known form of painting; during the Renaissance it was regarded as the ‘Mother of all Arts’. Practitioners, like Sasa Savic, have to posses a complete package of differing skills. They have to be draughtsmen, have a thorough knowledge of water and oil mediums, be adept at composition, perspective, know about traditional techniques and have a working knowledge of the history of the frescoe through the ages.
It also helps to be super organised and importantly that there be no history of vertigo in the family.
Churches are Sasa’s main domain. He is currently meeting the challenge of painting a series of frescoes within the highest domed church (25 metres) in Kato Paphos, making it the highest in Cyprus. “I rise at seven, breakfast, then spend an hour on the computer e-mailing, perhaps ordering online books on frescoes, or researching the work of other artists, then, depending upon my mood I will make my way to the church, climb the scaffolding to start work on the first of the many frescoes commissioned for this church.”
Before starting work on the actual imagery, what takes place as far as basic preparation is concerned? “I always make a scale model of the area to be worked on and will create in miniature an exact copy of what will be the finished piece, this is then presented to the Bishopric for approval, then, it’s a question of just getting on with it.”
Based on the fact that all Byzantine frescoes are strictly policed by the church, there is no room for any whimsy or the adding of anything out of the ordinary – so no Da Vinci code nonsense. There must, however, be some visual clue as to the ownership of the hand that created each fresco.
“There is something but, I wont say what it is, suffice that when I am long gone anyone coming to restore my work will know exactly who painted it,” Sasa said.
The church is not exactly a cosy comfortable place within which to create as winter winds whistle through the doors. “I wear plenty of layers plus any warm air rises so, as I am very high up, its not really that cold, and one does get so engrossed in the work that you do forget about any physical discomfort.”
Not always an artist but always with an artist’s soul, Sasa first followed in the family tradition of studying economics in his home city of Belgrade, before realising that this was not the career path for him, leaving after three years to study at Belgrade Academy of Fine Arts.
Sasa works, on average, 12-hour days and when not actually painting he up in the Troodos sourcing the range of natural pigments needed to create his working palette, which consists of about 10-15 colours.
Why fresco painting? “In Serbia it’s a deeply rooted art form, in the same way a British parent would take their children to visit stately homes, or castles, we as a family visited monasteries and it was there from an early age I became interested in the art form.”
After a hard day’s work up the scaffolding it’s home to the kitchen. “I love cooking, I enjoy playing my guitar, I read a lot, and see friends.”
Surely painting frescoes is a very limited field, so does Sasa not worry about the commissions drying up? “Once an artist always an artist. It’s something that cannot change, so one stays within the profession even if starving in a garret. You cannot, for example, be both an artist and a teacher, it’s difficult to combine the two disciplines as each has to be committed to absolutely.” Sasa will, “God willing,” continue to climb on a daily basis the great height needed to paint his religious images and, one thing’s for sure, at 25 metres above the earth he is a darn sight closer to God than any other artist I know.
