|INTEREST IN TECHNIQUE|
|Sassus interest in ceramics dates to the late 1930s, when he came into contact with Tullio
Mazzottis workshops in Albisola and the group of
artists, including Farfa, who gravitated around them. His first experiments in this
technique date to that period.
But his most significant work, quantitatively and qualitatively, dates to after World War II, when he settled for a long period, until the early 1960s, in the Ligurian town. At that time he worked in a climate of fervent exchange with many other artists captured by the same passion: Fontana and Agenore Fabbri, first of all, but also the old Chiarista painter Angelo Del Bon, the young Milanese exponents of the Nucleare movement Roberto Crippa, Enrico Baj, and Sergio Dangelo, the northern Abstract Expressionists of the Cobra group (Asger Jorn, Karel Appel, and Guillaume Corneille), the Cuban Surrealist Wilfredo Lam.
|Sassus production, like that
of his friends in Albisola, was highly diversified; it included sculpture in the strict
sense of the term, and among these the horses stand out, but also objects of the applied arts, from iridescent
bottles to plates and handles, which become the occasion for experimental research into
chromatic effects and materials.
In Sassus overall artistic itinerary, his work with ceramics led to his subsequent interest in sculpture. But he continued his intense activity with ceramics also after these years.
The most recent great achievement in this field is the monumental ceramic mural The Myths of the Mediterranean; realized in 1992-93, it is installed in the new headquarters of the European Parliament in Brussels, in the central lunette at the top of the building.