Visual artist, active in the fields of contemporary art and painting, born 1961 in Ljubljana, Slovenia. Studied at the Academy of Fine Arts Ljubljana. Founding member of artists' collective IRWIN, a group of 5 painters from Slovenia, active in the field of contemporary art since 1983 and founding member of NSK (Neue Slowenische Kunst, 1984).

IRWIN is committed to the so-called 'retro-principle' which is "not a style or an art trend but a principle of thought" (IRWIN), and a specific variation of the apropriation art.

Following the creation of a specific visual language in predominantly painterly projects of the 1980s, the group has been concentrating since the 1990s on a critical examination of the art history of "Western Modernism", countering it with the "retro-avant-garde" of a fictive "Eastern Modernism" which, in its own obvious artificiality, points to the artificiality of Western art historical structures that continue to exclude non western contemporary art to this day. With their artistic practice they had actively and concretely intervened in social and historical activities in the decade that redefined the status of art in Eastern Europe (projects Kapital, NSK Embassy Moscow, Transnacionala, East Art Map).

During the last 40 years IRWIN had over 500 exhibitions around the world, and is probably the oldest still active visual arts colective. Their works are in collections of the MOMA New York, Museum Moderner Kunst Stiftung Ludwig (MUMOK) in Vienna, the Neue Galerie in Graz, the Museum of Contemporary Art in Zagreb, Moderna Galerija in Ljubljana, Museo Flash Art Trevi, Fonds National des Arts Plastiques in Paris, Museum Ludwig Aachen, Museum Ludwig Budapest, Kunsthalle zu Kiel, Kiel, Museum for Contemporary Art Ujazdowski Zamek, Warsaw, VanAbbemuseum, Eindhoven and in several other public or private collections.

In 2020 Savski started to work on a body of paintings that slightly differ from the work done by IRWIN group, mainly in the sense that these paintings are more personal and follow a bit different visual language. The lockdown intensified this production both conceptually and formally. While the paintings can be understood as an artistic response to the pandemic experience of the contemporary world, they are mainly about the practice of painting. Some of the works are inspired by actual sociopolitical events and trends while others deal with past events and influences that shaped the artist and his generation.