When she was little, Soizick Hamon lived in Meknes, one of the imperial cities of Morocco. If you go via Meknes, you will inevitably linger in front of Bab Mansour, the Mansour Gate, so called because it was designed by a Christian converted to Islam. This majestic gate, inserted in imposing ramparts, once immortalized by Eugène Delacroix, was the main entrance to the palace built for Sultan Moulay Ismaïl. Today it is a tourist attraction. But it was, in the childish eyes of the future artist, a kind of mystery. What could have been behind that door? What could it open onto? What was it supposed to house?

Childhood obsession…
That’s how it is: a door always asking questions; because it reminds of a change, a transition, the advent of a new world which we accept as a sign when we decide to go through it.

Artiste Peintre Paris

Soizick Hamon appropriates the symbolic with force:

it is not one but 4 doors which she opens to make us discover his universe.

CHERGUI : An open door to the summer, its parasols, its beaches, its shadows, its cacti

ODYSÉE : An open door to travel, from Morocco to China via Mauritius and France

MUSES : An open door to the arts, a tribute to painters and sculptors

GENÈSE : An open door to the human being, rich in multiple family portraits

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CHERGUI : AN OPEN DOOR TO SUMMER

« I don’t mind reading that the sands of the beaches are warm; I want my bare feet to feel it”. This was the demand of André Gide, who, if he had met Soizick Hamon, would have been satisfied to appreciate things with his eyes. Because the summer heat oozes from her works. The sun is absent but its light radiates. The play of shadows testifies to its invisible presence at the zenith. We can guess it, drunk with power, devouring the landscape. There is, in Soizick Hamon’s work, a tropism for everything referring to summer and its procession of small pleasures: heat, languor, light, outdoors, beach, sand, sea, relaxation… In doing so, she follows in the tradition of artists who have always been inspired by summer to make it a metaphor of well-being and happiness. She will tell you that there is as much charm in living these things as in translating them by tasting the indefinable pleasure of the meeting of paint and metal, according to the technique she invented herself…

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ODYSSEY: AN OPEN DOOR TO TRAVEL

On 11 January 1832, Eugène Delacroix left Toulon for Morocco. He was part of a French delegation sent by King Louis-Philippe to Sultan Moulay Abd Al-Rahman. The trip will last more than six months. A six-month period of amazement constantly renewed: “The picturesque abounds here. At each step, there are ready-made paintings that would make the fortune and glory of twenty generations of painters” he wrote in his diary. 

Rarely has a subject been so old and testified to such a reality as Soizick Hamon, in love with Morocco, translates with jubilation. Focused on the choice of colours, made of sophisticated mixtures, with the only recipe being feeling, his work is the result of an inspired form of empiricism. It is obvious that she cherishes it, this Morocco! Whether a silhouette slips away, a donkey passes by, a glance lingers, a fantasia prepares itself unless it ends, the scene is captured… All that remains is to coat it with coloured acrylic. This ability to capture the fleetingness of life is measured wherever Soizick Hamon has set down her suitcases. From each place, it retains the uniqueness: Shanghai and its architectural frenzy, Mauritius and its quietness, Paris too, because adventure is also just around the corner for those who know how to keep their eyes open. 

And what about tomorrow? 

Tomorrow, mystery… The true traveller does not know where he is going, teaches us a Chinese proverb.

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MUSES: AN OPEN DOOR TO THE ARTS

Since Plato, it has been accepted that the nine daughters of Zeus are as many mediators between two creators: the universal and the intellectual… There would be God, there would be the artist, and there would be these muses from which inspiration would spring.

This is the mythological version of the story. In Soizick Hamon’s universe, there is a little extra; there are all these painters, all these sculptors to whom she devotes a particular tenderness because she knows how to thank them for having moved her and made her grow.

To each his Pantheon, isn’t it? In Soizick’s Pantheon, Klimt rubs shoulders with Ranc, Viallat neighbours Soulages, Poliakof mingles with Morisot, Bazille lives with Courbet, Buren frequents Hopper and Dantoine Journet de Vigan…

The eclecticism of the references leads Soizick Hamon to imagine a common homage: she starts from a work, photographs it, enlarges it, prints it on the sheet metal and then brushes it with a studied force. This innovative approach gives us original works, both literally and figuratively. We think of Paul Valéry: “Painting allows us to look at things as they were once contemplated with love”.

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GENESIS: A DOOR OPEN TO THE HUMAN BEING

In Genesis, it is said that it is not good for Man to be alone… What better pretext than this one to justify the staging of happiness shared with those close to him? 

In the past, to meet this need, we imagined the family portrait. It was then the privilege of the great bourgeoisie: they posed as a family in front of a painter. In the 19th century, the photographer replaced the painter. And then the practice fell into oblivion. 

Today, Soizick Hamon is reviving its charm. Less solemnity, more naturalness! It modernizes the concept. She energizes it. Customizes it. She adapts it to the times by synthesizing it: photography, painting and, above all, a personal touch…

This work on order obeys a modus operandi: the family (extended to friends, relatives, whoever you want…) is asked to sit on the sofa and exchange, laugh, talk, shout, swing cushions in the face if they wish. In short, to live! 

Soizick simply scraps. It gives beautiful pictures, full of life and energy. It’s up to you to choose the one you like. The only thing left to do is to enlarge it, print it and let the artist’s brush colour the contours of happiness, enhance its brightness, underline its subtleties…

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