Both physiognomist and empath, Samione is absorbing the city as well as the diversity of its people. The artist is projecting what he considers the most intimate in the urban environment: the faces of men and women he meets. So many eyes and life stories, that constitute a whole, with lots of paradoxes and embraced by the “oneline” technique.
Samione’s graphic work is based on a single and infinite line. This line symbolises the unity of the subject and the string that unites us. This string is invisible but definitely there. That is what Samione reveals on the walls, giving back to people the portraits they deserve.
This line, given back to itself, is transforming, creating a spark and brain connections. Tanks to painting, Samione translates the unique lines of persons whose energy touched him. This is a way for him to highlight everyone’s differences and unique life course at the same time.
Samione has always been drawing. The love of figuration will never leave him.
As a young man, he discovered aerosol during a workshop organised by the public library in his city. From there, he dedicated several years of his life to “hand style”, also developing passion for the study of western calligraphy and trying to assimilate and master the principle of letters. Extend the letters in all directions, stretch the limits of abecedaries and finally incorporate these personal productions in harmony with a universal environment: a night practise he considers as the essence of graffiti.
While studying graphic design and audio-visual communication, the artist meets Mr Cana, a member of “Collectif Renart”, and a pioneer of graffiti and street art in the North of France. In 2013, the artist takes part in the first Mural Art Biennial. He also creates the graphics communication of the event.
An artistic cycle is beginning when he becomes a member of “Collectif Renart”. This enriching experience is completed by initiation to graffiti workshops and events such as the Festigraff in Senegal the following year, in 2014.
Thanks to this trip in Senegal and his regular stays in Morocco, he has the brainwave: Samione’s first passion resurfaces and becomes more intense by his practise of the tag of which he will keep the incisiveness. Samione is coming back to figuration, from there, his gesture is brisk, sharp and fast, just as the tag is. The figuration he used to keep as a private thing suddenly came out of the walls in order to put up as a big picture.
The approach consists in painting people as they are and not as we expect them to be.
Workers, minimum wage-earners, wise persons, mafiosi, yobs, immigrants, outcasts, folks of the neighbourhood, hanging out kids but also well-off, SUV drivers, business girls and preppies. They are people from downstairs but not only. Reality is there and all those faces express confusing emotions. These people are impressive and powerful because of their personal experience. Samione tries to reproduce this strength as a positive and humanist vision of the society.
Samione’s work becomes like mirrors on the walls where everyone can look at himself with color jets that emphasise the contrast between brutality and fineness. Expressions are transfigured thanks to multiple curved lines suggesting the passage of time but without ignoring the aesthetic. A progressive and living snapshot which is unavoidable but at the time reassuring because we remain together.