Notes from The Archive: My Brief Life with Sätty

How my short introduction to Sätty changed the way I think about Art forever.

An AI depiction of the Author and Sätty walking on a Fall evening in Berkeley CA, 1981.

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Through a Child’s Eyes: An Encounter with a Visionary

It was one of those balmy fall evenings in Berkeley, the kind that feels like an invitation to wander. The year was 1981, and I was just nearing ten years old, walking up to North Berkeley’s “Gourmet Ghetto” with a peculiar but intriguing man by my side. Sätty, my dad’s close friend and a renowned collage artist, towered above me. His accent was as enigmatic as his demeanor, adding to the air of mystery that surrounded him.

“Nature Boy” by Wilfried Sätty, signed and dated 1976, is described my father Walter Medeiros as a self-portrait reflecting the artist's interior and symbolic self. The collage, measuring 8.75 x 12 inches within a 12 x 18-inch mat, is signed in pencil in the bottom left-hand corner.

Just an hour earlier, we had been poring over one of Sätty’s collage books. His creations were unlike anything I’d seen before—a tapestry of the surreal and the historical, blending reality with dreamlike visions. While my father’s apartment brimmed with vintage posters and graphic ephemera, Sätty’s work carried an almost spiritual depth. It was art that asked questions, and as a child, I felt both puzzled and captivated.

Untitled by Sätty ("The Aviary Abyss")19 x 13.75 inches, Collage on paper, Time Zone Page 85

As the dusk deepened, I mustered the courage to ask him, “But what do they mean?” Sätty paused, his eyes glinting behind his glasses. “What do you think they mean?” he replied, his voice a gentle challenge. Flabbergasted, I didn’t have an answer, but his words stayed with me, shaping my understanding of art as an interplay between creator and viewer.

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A Friendship Forged in Art and Tragedy

My father and Sätty shared a bond that transcended the ordinary. They met in the early 1970s, their connection rooted in a shared passion for art, deep thinking, and a certain romantic idealism. Sätty, nearly a decade younger, seemed to see my dad as both a confidant and a kind of elder brother figure.

From Left to Right: Walter Medeiros, David Singer, and Sätty reviewing posters at a San Francisco Print Shop in 1973. Walter’s handwritten note on the back says: “Bill Maleck photo? Circa ‘73. Which printer is this? On one of the numbered streets south of Market, as I recall”

Sätty and Walter’s friendship endured through life’s highs and lows—from the vibrant parties of the Powell Street scene to the painful dissolution of Sätty’s marriage. When his wife Martha left, Sätty’s heartbreak compounded his struggles with alcoholism. My father, ever the steady anchor, offered him refuge, hoping to help him find his footing. But it wasn’t enough. Just three months after that autumn walk, Sätty passed away, leaving a void in the lives of those who knew him.

In this photocopy, likely created by Sätty, he and his wife Martha stand in front of their apartment at 2141 Powell Street. Their years together appear to have been joyful, as noted in Sätty’s writings and photos, but their separation was devastating for him. However, Martha likely faced challenges due to Sätty’s struggles with alcohol.

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A Legacy Unfolds

Fast-forward to 2016. My father, Walter Medeiros, passed away, leaving behind an overwhelming archive of posters, artifacts, and, most notably, Sätty’s entire body of work. For 25 years, my dad had shouldered the responsibility of preserving his friend’s legacy—a task that was both an honor and a burden.

This is my new favorite Sätty collage from the San Francisco series depicting one of the many Opium Dens that operated in the boomtown city in the mid to late 1800s. Collage by Sätty, 12.5 x 9.5 inches.

My sister Molly and I inherited this monumental project. Among the treasures were meticulously labeled boxes containing Sätty’s collages, notebooks, and personal writings. The process of cataloging his work felt like piecing together a vast and intricate puzzle. Each discovery—a receipt, a letter, a sketch—offered a glimpse into Sätty’s life, a story waiting to be reconstructed.

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The Journey Ahead

Delving into Sätty’s archive is like tracing the contours of an iceberg. The surface reveals stunning works of art; beneath lies a wealth of untold stories and philosophical musings. The task is daunting but exhilarating. Each new shred of evidence deepens my understanding of this enigmatic artist and his world.

Documenting and cataloging Sätty’s work requires meticulous attention, as many pieces are collages made from various types of vintage 19th-century papers, including those from books, broadsides, and magazines. Sätty’s use of black ink along the edges of cutouts highlights his precision in maintaining sharp visual lines. This collage from 1979 also features his pencil signature. Photo by Ryan Medeiros.

As I embark on this journey, I’m driven by the hope of illuminating Sätty’s life and philosophy. His art challenges us to find meaning not just in his collages but in the very act of interpretation. It’s a lesson I first learned as a child, walking alongside him on that unforgettable evening in Berkeley.

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About the Author
Ryan Medeiros is a designer, artist, and educator based in the San Francisco Bay Area. As co-executor of the Walter Medeiros/Wilfried Sätty estate, he is dedicated to preserving and sharing Sätty’s remarkable legacy.