Andrej Savski is a visual artist, active in the fields of contemporary art and painting. He studied at the Academy of Fine Arts, Ljubljana, and is a founding member of the artists' collective IRWIN, a group of five painters from Slovenia, active in the field of contemporary art since 1983. He is also a founding member of Neue Slowenische Kunst (NSK), 1984. The basic working methods and concepts of IRWIN are collective work and the so-called “retro principle,” defined as a principle of thought and a way of behaving and acting. During the 1980’s, the group created a series of predominantly painterly projects focused on the relationship between art, politics and ideology. Since the 1990’s, they have been concentrating on a critical examination of the art history of "Western Modernism" and developed a line of conceptual projects that focus on the dialogue between East and West. As a part of the IRWIN collective, Andrej Savski has exhibited in institutions and galleries such as the Reina Sofia, Madrid; Van Abbemuseum, Eindhoven; Garage Museum of Contemporary Art, Moscow; Moderna galerija, Ljubljana; Lehmbruck Museum, Duisburg; Galleria Civica di Modena; the House of World Cultures, Berlin; Tate Modern, London; the Museum of Modern Art, New York; the Centre for Art and Media (ZKM), Karlsruhe; the Centre Georges Pompidou, Paris; Taipei Biennial; and many others.

Andrej Savski has started to work on a body of paintings that slightly differ from the work he has created in the context of IRWIN. These paintings are more personal and employ a different visual language. The COVID-19 pandemic and lockdown intensified this production, both conceptually and formally. While the paintings can be understood as an artistic response to the pandemic experience, they are mainly about the practice of painting. Some of the works are inspired by actual socio-political events and trends, while others deal with past events and influences that shaped the artist and his generation. Formal expanding of the possibilities of the medium is the central interest of this individual series. By merging narratives from the history of painting with contemporary forms and interests, his artistic practice becomes less about the analysis of the content and more about the process of painting itself.