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SAMPY SICADA

LIMINAL PORTRAYAL

OVERVIEW

A British and Hong Kong fine artist based in Savannah, Georgia, Sampy Sicada works primarily in traditional media such as graphite, colored pencils, and charcoal. Sicada’s work, highlighted in the solo exhibition Liminal Portrayal, consists of surreal, psychologically resonant portraits that fuse photorealism with symbolic depth. He sees drawing and art not only as a craft but also as a lifeline for emotional expression. His work creates a space for sincerity, focus, and self-reclamation. Over the past several years, his artistic career has grown through international exhibitions at venues such as the 2021 London Art Biennale and the 2023 New York Ad Art Show.

Influenced by movements like Odd Nerdrum’s Kitsch and Stuckism, Sicada’s work in Liminal Portrayal balances technical precision with conceptual accessibility, welcoming a broad audience. He is not beholden to any one narrow style or categorization of art, but generally embraces craftsmanship and storytelling to reconnect art with human experience and emotional depth. Grounded in themes of psychology, media theory, and the politics of representation, his portraits are often crafted through a process that begins with digital compositing and planning, drawing on his background in graphic design, and ending in finely detailed traditional rendering. The result? Portraits that inspire introspection and connection in a fractured cultural age.

ORGANIZED BY

Isabell Sliwinski, Executive Director

Abigail Bruno, Director of Curatorial Affairs

Isabelle Grace Brett, Deputy Curator International Art

 

GRATITUDE

Corporate Giving: To sponsor "Celebration" via a personalized corporate, foundation, or individual sponsorship package, please visit www.culturallyarts.com/giving

GALLERY

CATALOG

Explore the artist's biography, words, and collections

CONTACT

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SAMPY SICADA

Sampy Sicada is a British fine artist and visual developer specializing in surrealist drawings using colored pencils, graphite, and charcoal. His work has been exhibited internationally, notably at the London Art Biennale, the New York Ad Art Show, and Oculus at the World Trade Center. Sampy has also given interviews and public lectures on art-related issues and media theory.​

Art's flight from representation and what Michael Fried called "theatricality" has dislodged art's longstanding gratification of the masses. The flight from representation, under the guise of poststructural iconoclasm and withstanding the skeptic's rabbit hole through opting out entirely, has in fact appealed to the pointy-headed, purported to be the initial target for desecration. Art that speaks to the masses is still that which is kitsch, theatrical, and created by artists still "dumb like a painter" (cited from Duchamp). Without dismissing the very real postmodern epistemic condition, my art attempts to depict said condition in the language of old, exploring avenues for a metamodern and sincere practice that emerges from the interconnected age where the iconoclastic has been found wanting and the beautiful still grotesque. Representation here is at least an act of faith, if not a necessary pragmatism to stave off inertia, and at best a rediscovery of the sacred.

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