GALLERY artWORKS
UNIQUE ARTWORKS: between the memory of the gesture and the materiality of the process
Each work presented by Saype consists of a unique photographic print depicting one of his monumental frescoes, accompanied by authentic elements from the creation process. These pieces, carefully assembled, form a coherent whole that reflects both the artistic gesture and the technical dimension of his work. Design plans, color charts, wooden stakes used for scaling, or even fragments of tools employed on-site: each of these elements serves as a tangible trace of the creative process. By bringing these artefacts together, Saype offers a new reading of his work, where photography becomes the memory of an ephemeral art, and the objects stand as silent witnesses to a craft deeply rooted in the real.
PIXELS: subtle traces of an ephemeral artwork
The Pixels are a series of singular elements taken directly from the creation process of Saype’s monumental frescoes. Before each artwork is made, sheets of paper are placed on selected areas of the ground. Once the painting is completed, these sheets are removed, revealing slight absences in the final composition—imperceptible at first glance, yet noticeable to a discerning eye. These fragments then become independent pieces, printed on museum fine art paper and framed. As physical witnesses to the original work, they retain its materiality and memory, while transforming into poetic abstractions where gradients and macroscopic forms of a vanished part of the fresco can be subtly perceived.
SKETCHES: the origin of gesture and thought
Sketches represent an essential stage in Saype’s creative process. Produced ahead of his monumental frescoes, they capture the artist’s phase of research and projection. On paper, in pencil or ink, Saype develops his compositions, studies proportions, imagines anamorphic distortions, and records his technical notes. Often accompanied by scale indications or perspective markers, these drawings reflect the precision and discipline required to execute his works in situ. Beyond their preparatory value, they reveal the intimate and conceptual dimension of his practice — that of an artist who, before painting on nature, draws in order to think through the gesture and anticipate the encounter between art and landscape.
