In this time of Post-Internet art-making, what does it mean to be an artist? The universal understanding of art is using visual expectation as a tool to shed light on the condition of life today. A generation of visual documentation is integrated in everyday life. What is the role and expectation of the artist?
Tomorrow’s interest is already gone. The visual information of life is fast paced. This generation of young artists is accepting the process of “The Now” and not limiting that process as it carries over multiple disciplines. Samuel de Saboia is the reflection of the visual process of the Now.
What do you believe is your contribution to the history of art? The history of art already exists, my mission is creating a new one; the history of dreamers; an archive of heroes; a path for those who were denied all the other routes. It’s for us and by us.
You began your professional art career at the age of twelve. How many of those ideas are still present in your work today? What are the developments and commonalities? The principles of faith and love are still, and probably always will be, surrounding my art. Sometimes I try drawing a line between it and politics as well, but at this moment, in our society, it’s quite hard. I’ve improved my techniques since I was a kid, but in the end, it still is pretty much about passion for the craft and letting emotions take over when needed.
What does your art question? Do you think it solves a problem? When was the last time you saw someone saying that they were hopeful? That they could see and expect better days? We are a hopeless generation that lives towards our parents doubts and debts, and their frustrations and dreams. Since you are born, you are expected to be something or nothing at all and this tends to reflect on society as a whole. Art is beginning conversations and discussions that are necessary, but once it’s made only to fulfill “art-funds,” residencies, curators, galleries/gallerists, and stops being a medium of unlimited expression — it loses a huge part of its purpose.
As an artist/model, is the body separate from the art? When do they become one? They are one because I am one, but this one, as a human being, is a multitude. We are all bodies; sacred bodies; rotten bodies; beautiful bodies; scared bodies. Every single minute our skin fully changes because of the reactions that our body promotes, so in the end, it’s all connected, but by different routes. Just like art, I always claim my freedom of being while shooting. The difference is that I make art for myself and even fashion/modeling comes naturally to me. There is a call sheet, set rules, styling, etc. that defines what will be the result.
.artist talk Nikkolos Mohammed speaks with Samuel de Saboia first published in: issue 28, 01/2020 *utopia / dystopia
Your artwork has a figurative language, can you see yourself executing your ideas through other motifs other than figures? Definitely, recently writing and recording has become a process and art of its own. I’ve been making music and poems since last year and I can see them fully now. I’ve adventured a lot with film as well, and I want to start including it in my shows. Movement, danc, and ritualistic performance were always in my family, so I can see it mixing with my works. I'm twenty-two and on fire. I want to do everything and I probably will.
Who are your inspirations? Does their profession ever influence your intuitions? It’s mostly writers, musicians, filmmakers, and fashion designers. I love the ones who channel their vision into matter. Patti Smith books and songs, David Wojnarowicz journal tapes, the insane ways of Hunter S. Thompson, and how it turned Ralph Steadman’s art upside down.
How was the process of making the work for Unamerican Beauty in Los Angeles, and to exhibit in that environment? Did you have any expectations? Chaotically beautiful art-making. I got extremely skinny from being tired and not eating well. Thirty art pieces made in four weeks. It was a resistance test that I would not be able to fulfill if it wasn't for the help of God and friends. As for my shows, the conclusion was spectacular. It felt right to bring Brazil together with young queer art.
Do you ever think of how you want audiences to interact with your work? Does this influence its production? It’s not utopic, it’s human, we still have a connection between all of us. Even the worst in us, in our group/society we still love someone or something. Art is a universal language where each person can understand something. It’s not what I want sometimes, or it’s a completely different reading of my point, or the point of a critic, but even the ones who’ve never been introduced to art can still feel it. I’m more interested in the multitude of readings, it doesn’t influence the way I create but it is part of the whole process of making art and being an artist getting into the mainstream. I make art by myself, but after it’s done and shown, it doesn’t belong only to me.
Are you more interested in the idea of dystopia or utopia? Aren’t they twins? Sisters brought together to this world by philosophy that no matter how long they try, they can’t get far one from the other. What is utopic for me is definitely dystopian to someone else. From the romantic side, I would love to stick with utopia, but as humans, I don’t think we can manage a life without mistakes.
As a multidisciplinary creative, what is the most ideal scenario you would like to create? It has changed a bit since I’ve started. In the beginning, it would be a place where my parents let me be me. I was twelve and I wanted to explode from there, until I was fifteen, it felt like my art and being were repressed, which was reflected in the art. After my first solo show in New York, I realized that my first home was such a safe space and since then, I’ve been traveling in search of these different art temples. I do well with chaos but even better with harmony. The ideal scenery for me has sun, nature, comfort, and a lot of room to mess around as well — alone and with my chosen ones.
Under the weight of the expectation of the art world, Samuel De Saboia is reacting to the emotions of his surroundings in real time. Focused purely on documenting the now, a free nature is apparent through all of his work with no regards to structure or specificity of disciplines. In this time of Post-Internet art, we can’t deny Instagram’s role in blurring the lines between art, and at rate it pushes out information. The only way to exist is in the spontaneity of the moment, and to the trust in that. Samuel de Saboia is “The Now.”
credit header image (c)
Seen Fee-Gloria Groenemeyer Style Neslihan Degerli Make up Anaelle Postollec Hair Cecile Gentilin Samuel wears full Look Dior Men’s spring/summer 2020
