SAEIO
SAEIO
Born in 1987 in Paris.
Died in 2017.
Présentation
Graffiti is an ephemeral painting in an act where the painters use, writing, their own body, time and space in situ. The process, if analyzed, still contains non-manageable features which are mainly due to its illegal nature, allowing the unknown and unexpected to create events and interactions which in the end form an integral part of the work itself. Graffiti’s audience is the multitude of characters who while walking the streets have the possibility to encounter a painter working live or at least the trace he has left.
For SAEIO graffiti is a formal reality, a commitment to the world which designates a liberty. Free and authentic, its spontaneity and radical nature unties the established codes of the traditional graffiti culture to push its boundaries; within which a new approach to painting can be identified. His approach, though of as a “widened pictorial practice” abolishes the life/art boundary but also the boundaries between different artistic disciplines.
SAEIO has recently introduced his practice and approach to paintings to the public though institutional shows. The paradox of this transition from illegality to legality, from the street to the museums, from graffiti to the idea of graffiti, from the people to a public, from the collective to the individual, from the interaction to its potential loss, nourish him with new problematics and research approach which generate new artistic inventions.
Died in 2017.
Présentation
Graffiti is an ephemeral painting in an act where the painters use, writing, their own body, time and space in situ. The process, if analyzed, still contains non-manageable features which are mainly due to its illegal nature, allowing the unknown and unexpected to create events and interactions which in the end form an integral part of the work itself. Graffiti’s audience is the multitude of characters who while walking the streets have the possibility to encounter a painter working live or at least the trace he has left.
For SAEIO graffiti is a formal reality, a commitment to the world which designates a liberty. Free and authentic, its spontaneity and radical nature unties the established codes of the traditional graffiti culture to push its boundaries; within which a new approach to painting can be identified. His approach, though of as a “widened pictorial practice” abolishes the life/art boundary but also the boundaries between different artistic disciplines.
SAEIO has recently introduced his practice and approach to paintings to the public though institutional shows. The paradox of this transition from illegality to legality, from the street to the museums, from graffiti to the idea of graffiti, from the people to a public, from the collective to the individual, from the interaction to its potential loss, nourish him with new problematics and research approach which generate new artistic inventions.
One of the problematics of showing the work of a writer in a place dedicated to art, is that it overlooks the question of context so essential to this line of work. This passage towards interior imprisons as much as it marks identity. This identity which, at the mercy of the exterior environment, can move, make itself up or get stole. To produce a trace and repeat it endlessly is one of the favorite games of the one who practice it. To melt into the material form of graffiti, to form one with it, to accept, like a priesthood, to only be a name, to embrace anonymity, to refuse in consequence to be an artist – or its representation – because the deal is implicit, graffiti signs and refers back to the one making it live, you cannot be without me.
What a morbid game, if the strongest human instinct was the one attached to survival. If graffiti imposes a limitless devotion to its performer, its tyranny would like to see it offered it best requiem.
SAEIO decides to revise the clauses of the contract and forges the desire of a score in D minor. There is the outside – the repetition – with writings on metal gates from which emanate an efficiency proper to direct warmth (improvisation) unfiltered by emotions. And the inside – the representation – with the plastic retranscription of the controversial, spiritual and affective link to a “street practice”.
Saeio is the link, and allows us to witness the passage. No transposition from his universe to another, which would have been the error of the unaware, but the object of a birth, painful, intimate. Nolens volens, to erase or to embellish?
Again the antagonist’s game, impulsion or rigor, synthesis is unavoidable.
From both, graffiti as the purest form of self-expression and the individual that produces it, we need to break the contradiction.
There is no confrontation more brutal between an artist and its tool in Art History. With the city, backdrop of the small death with an angelic face, on its walls, Saeio’s fruits, some of which he cannot even taste the aroma, keep a trace. The gesture is beautiful, romantic even, but dangerous for itself. How can we not desire the infinite? Another repetition, but until when?
It is time to lift the curtain. The gates open and close, stop and stay, we cannot read anymore so we need to feel. And it from there that is born Saeio’s painting practice. It is an instant, a sensation, a memory, a remorse, it is what one can see in it.
Saeio proposes a harmonious turn of the inside and out. It is impossible to embrace fully if one or the other is missing. SAEIO the signature, the mark, the disciplined artist, swot that authorizes himself to grand paintings through a simplified pretext.
No, nobody has forgotten where he comes from.
Sandra Mezache
What a morbid game, if the strongest human instinct was the one attached to survival. If graffiti imposes a limitless devotion to its performer, its tyranny would like to see it offered it best requiem.
SAEIO decides to revise the clauses of the contract and forges the desire of a score in D minor. There is the outside – the repetition – with writings on metal gates from which emanate an efficiency proper to direct warmth (improvisation) unfiltered by emotions. And the inside – the representation – with the plastic retranscription of the controversial, spiritual and affective link to a “street practice”.
Saeio is the link, and allows us to witness the passage. No transposition from his universe to another, which would have been the error of the unaware, but the object of a birth, painful, intimate. Nolens volens, to erase or to embellish?
Again the antagonist’s game, impulsion or rigor, synthesis is unavoidable.
From both, graffiti as the purest form of self-expression and the individual that produces it, we need to break the contradiction.
There is no confrontation more brutal between an artist and its tool in Art History. With the city, backdrop of the small death with an angelic face, on its walls, Saeio’s fruits, some of which he cannot even taste the aroma, keep a trace. The gesture is beautiful, romantic even, but dangerous for itself. How can we not desire the infinite? Another repetition, but until when?
It is time to lift the curtain. The gates open and close, stop and stay, we cannot read anymore so we need to feel. And it from there that is born Saeio’s painting practice. It is an instant, a sensation, a memory, a remorse, it is what one can see in it.
Saeio proposes a harmonious turn of the inside and out. It is impossible to embrace fully if one or the other is missing. SAEIO the signature, the mark, the disciplined artist, swot that authorizes himself to grand paintings through a simplified pretext.
No, nobody has forgotten where he comes from.
Sandra Mezache
Group shows at Ceysson Gallery
Scar/face, Paris
June 28 - August 04, 2018
Solo show
2016
Phases, Frac Paca, Marseille, France
Group Show
2018
Scar/Face, curated by Hugo Vitrani, galerie Ceysson & Bénétière, Paris, France
Scar/face, Paris
June 28 - August 04, 2018
Solo show
2016
Phases, Frac Paca, Marseille, France
Group Show
2018
Scar/Face, curated by Hugo Vitrani, galerie Ceysson & Bénétière, Paris, France
