U-mE

BiO

« We are part of the same picture. »

U Me is the anonymous, self-taught alter ego turning wit into a weapon. The name is both a statement and an invitation: you and me are part of the same picture - equally implicated, responsible and able to question the world we live in. In U Me’s view, art isn’t a distant object to be admired from behind glass; it’s a conversation, a provocation and sometimes a dare.Working in a raw, expressive style influenced by Art Brut, U Me embraces bold lines, unpolished textures, and instinctive mark-making. The result is work that feels immediate and alive, free from academic constraints yet deeply considered.

gRaPhY

« Unpolished art, unfiltered truth. »

Color becomes a lure, humor a hook, and every image an entry point into layered social commentary.The signature flower-with-an-eye, found in every piece, is the heart of the practice. The flower represents beauty, growth, and fragility; the open eye: awareness and accountability.Together, they remind us to look closer at the cultural and societal forces shaping our lives, even when it’s uncomfortable.

WhEn ArTiStS cArE aBoUt STARVATION

A piece of tape, stripped of its banana, symbolizes the urgent need to raise awareness of malnutrition and hunger.In an ironic twist on Maurizio Cattelan’s Comedian, U Me removes the edible object, leaving only the tape — transformed into a potent symbol. Set against a bright yellow background streaked and marked with drips, the handwritten text When Artists Care About Starvation takes center stage.The absence of the banana creates a void that sharpens the message: the focus is no longer on the object, but on the issue. With this work, U Me confronts the absurdities of the art market while addressing the urgent realities of malnutrition and famine.At the crossroads of conceptual and street art, the piece questions the artist’s role in humanitarian crises and the use of irony as a tool for critique.

Year: 2025
Medium: Acrylic and mixed media (paint and tape) on canvas
Dimensions: 100 × 100 cm

GoD & wEmBy

“Even giants stand below the absolute.”Against a white background scattered with yellow and blue stars, U Me creates an image that is both playful and symbolic. At the center, a large orange basketball overlaps the letter “O” in the word God, visually linking text and image. Below, two hands in a gesture of prayer rise toward the ball, blurring the line between religious devotion and sports worship.Hand-painted in a deliberately irregular script, the phrase reads: God is above all that exists, even Wemby. The statement begins with solemn, almost biblical weight, before ending with a wink to pop culture by referencing Victor Wembanyama, the French NBA sensation.By merging the sacred with contemporary sports culture, U Me reflects on how societies create new idols — and how athletic glory can approach, in the collective imagination, a near-divine status.
The naive style and bold colors heighten the contrast between message and execution, making the work both lighthearted and thought-provoking.

Year: 2025
Medium: Acrylic on canvas
Dimensions: 130 × 97 cm

tRaDiTiOn...

When tradition is tinged with red.Against a light background framed by a pale yellow border, U-me places in the center the black silhouette of a cetacean, probably a pilot whale, swimming among wavy red lines evoking both the sea and blood.At the top, the word TRADITION, written in inverted red letters, seems to subvert the value it claims to defend, calling into question the moral legitimacy of a practice inherited from the past. At the bottom, the word GRIND refers to the traditional cetacean hunt practiced in the Faroe Islands, known as « Grindadráp. »
The letter « I » is replaced by a black and white knife, an explicit symbol of the violence of the act. The yellow stars and the naive style of the drawing deliberately contrast with the harshness of the subject, creating a contrast that draws the viewer’s attention before confronting the brutality of the message.Through this work, the artist questions the persistence of certain traditions and invites us to look at them differently : upside down, as in the inscription, to reveal their hidden meaning.

Year : 2025
Medium : Acrylic on canvas
Dimensions : 100 x 100 cm

The hOpE pRoViDeR – $7.99/Month

When hope, truth, and justice become a monthly subscription.Set against a light yellow background framed in gray, U Me presents Superman — the iconic figure of strength, justice, and hope — reimagined with an exaggerated, uneasy smile. The word HOPE appears in large pink letters, surrounding smaller inscriptions of “truth,” “justice,” and “the American way,” echoing his classic motto.
In the bottom right corner, however, the phrase $7.99/MONTH abruptly shifts the tone, transforming the superhero into a subscription product.By pairing pop imagery with sharp social commentary, the work exposes the commodification of ideals and the commercialization of cultural symbols, turning even the promise of salvation into a paid service.Acrylic on canvas enhances the clean lines and bold colors, amplifying the contrast between nostalgic heroism and the cynicism of a price tag — offering collectors a piece that is both visually striking and conceptually engaging.

Year : 2025
Medium : Acrylic on canvas
Dimensions : 100 x 100 cm

FiGhT,same chance for everyone

When the American Dream enters the ring… but not for everyone.U Me subverts the cinematic icon of Rocky — the white boxer celebrated in American popular culture as a symbol of hope and success — by replacing him with a dark-skinned, frail, and scarred fighter standing beneath the word FIGHT.His downcast expression contrasts sharply with the triumphant imagery usually tied to the sport.
In smaller red letters, the phrase Same chance for everyone carries a bitter irony, pointing to the unequal realities that shape opportunity. Red gloves and red-and-blue striped shorts echo patriotic colors, while hand-drawn stars, faint and imperfect, reference vintage sports posters but appear faded, their power diminished.With a deliberately naive and pared-back style, U Me exposes the gap between the myth of the American Dream and the realities of discrimination, prompting viewers to consider who truly gets the chance to “win” in this system.

Year: 2025
Medium: Acrylic and ink on raw cardboard
Dimensions: 130 x 97 cm

AmErIca's got talent

When politics becomes a show.Against a light background dotted with yellow and red stars, U Me presents Donald McRonald — a hybrid character merging three unmistakable cultural icons: Ronald McDonald’s curly red hair, Donald Duck’s yellow beak, and Donald Trump’s blue suit, red tie, and signature oratorical pose.Above, the inscription AMERICA’S GOT TALENT! twists the title of the popular TV show, suggesting that the American political stage often plays out like entertainment.
The figure stands behind a podium with a white cross, arms outstretched mid-speech. Bold colors and a deliberately naive style heighten both the pop appeal and the absurdity, while sharpening the satirical edge.By fusing fast food, cartoons, and politics into one caricature, U Me critiques the spectacle of power and the contradictions that emerge when governance becomes performance.

Year : 2025
Medium : Acrylic on canvas
Dimensions : 130 x 97 cm

nEeD mOrE?

When world leaders compete for an endless appetite.Against a light, textured background framed by a thin yellow border, U Me stages two instantly recognizable caricatures: the North Korean leader on the left and the former American president on the right, identified by his distinct blond hair. Facing each other, mouths wide open, they appear to shout across a towering, multi-layered hamburger.The oversized burger is held aloft by a black hand — the only visible part of a third, unseen figure — hinting at nations or populations often exploited in the power games of global leaders. Above, the word BADTIMES in blue sets a tone of tension and disillusionment, while at the bottom, the red inscription NEED MORE ? serves as a sharp rhetorical question about greed, excess, and the absurdity of certain political rivalries.By placing major world figures around a symbol of mass consumption, U Me delivers a satirical portrait of power reduced to petty squabbles.
The naive, almost childlike style, punctuated with symbolic stars, lightens the scene while reinforcing its irony. Acrylic on canvas ensures lasting vibrancy, offering collectors a thought-provoking and conversation-starting work.

Year : 2025
Medium : Acrylic on canvas
Dimensions : 100 x 100 cm

i WaNt To Be FrEe

When freedom knocks where it is forbidden.On a light beige, textured background, U Me reimagines the North Korean dictator in an unexpected and humorous guise: short bob haircut, fine mustache, red earrings, blue top, black skirt with apron, grey stockings, and an old-fashioned vacuum cleaner in hand.
Above, the phrase I WANT TO BE FREE dominates the composition, with the word FREE painted in vivid red, pulsing with irony.
The scene draws directly from Queen’s iconic I Want to Break Free music video, transforming the ultimate symbol of oppression into a figure of parody and self-expression. Scattered golden stars are a subtle nod to propaganda imagery, stripped of gravity and turned into playful doodles.With a deliberately naive style and bold color palette, U Me sets the rigidity of authoritarianism against absurd humor, using derision as a tool for critique and reflection.

Year : 2025
Medium : Acrylic on canvas
Dimensions : 130 x 97 cm

cOnTrOl

When pharmaceutical lobbies invent the miracle pill… for an American president.With acerbic humor, U-me imagines a pill created by powerful pharmaceutical lobbies, specially designed for an American president, by repurposing his famous campaign slogan « Make America Great Again. »In the center of the canvas, a nearly empty bottle, drawn in blue, contains a few red and blue capsules. Around it, the phrase « Chemical Stability Pills to Make This World Great Again » is written in hand-painted letters, mixing red, black, and blue—colors reminiscent of the American flag.This repurposing highlights the implicit alliance between political power and the pharmaceutical industry, highlighting the absurdity and cynicism of « stability » achieved through chemistry. The stars and irregular black lines framing the composition reinforce the feeling of a visual manifesto, halfway between a political poster and a social critique.Through this simple yet meaningful graphic language, U-me confronts the viewer with a scathing question : what if the miracle solution to global chaos lay… in a simple order ?

Year : 2025
Medium : Acrylic on canvas
Dimensions : 100 x 100 cm

fReE wIfI

When art gives way to the lure of free WiFi.On a pale yellow-washed white canvas, the phrase “TAKE A LOOK AT MY WORK” appears in black — with “AT MY WORK” softly crossed out and replaced by “there is free WiFi.” This playful intervention reflects a contemporary reality: in a society overloaded with images and distractions, attention can drift from artistic creation toward more utilitarian or superficial promises.The irregular lettering, the visible act of erasure, and the faint freehand frame evoke both urgency and impermanence, like a hastily made street poster. With humor and a hint of cynicism, U Me questions the place of art in the digital age, where the promise of connection can sometimes outweigh the creative act itself.

Year : 2025
Medium : Acrylic on canvas
Dimensions : 100 x 100 cm

dIg YoUr OwN gRaVe

A sharp, humorous take on the slow mechanics of everyday life… right up to the final cross.On a black ground brushed in broad, irregular strokes, the handwritten white phrase “Dig your own grave except from 9 to 5” stands out in sharp contrast. In places, the texture reveals glimpses of the lighter base beneath, adding depth and movement to the surface.In the lower right corner, a yellow cross punctuates the message like an uncompromising final mark.
With dry humor, U Me twists the familiar expression “dig your own grave” by inserting the fixed hours of salaried work, exposing the paradox of freedom bounded by imposed structures.The piece reflects on the slow erosion of meaning, the quiet resignation, and the constraints that can define modern life. The stark contrast between black and white intensifies the impact, while the raw, spontaneous gesture preserves the urgency of the artist’s hand.

Year : 2025
Medium : Acrylic on canvas
Dimensions : 100 x 100 cm

tRiNiTy

“In the beginning men created…” — the first breath of the nuclear age.Against a dark, charcoal-toned background, U Me paints the words IN THE BEGINNING MEN CREATED… across the top — a deliberate reworking of the biblical opening, replacing divine creation with a human act that altered history.
The word TRINITY appears in large, faint letters, evoking the secrecy surrounding the Trinity test — the first nuclear explosion, conducted by the United States on July 16, 1945 in the New Mexico desert. At the bottom, (USA – 1945) anchors the work in its historical context, marking the moment when humanity crossed an irreversible threshold.Minimalist yet powerful, the piece holds a tension between the sacred and the destructive, confronting viewers with the moral and existential shift of that “beginning.” Executed in acrylic, its stark contrasts and restrained palette enhance its gravity, offering collectors a contemplative, conversation-starting work.

Year : 2025
Medium : Acrylic on canvas
Dimensions : 100 x 100 cm

pLeAse

Too much information. Too much propaganda. Please… stop.
A thin veil of white acrylic softens a full collage of newspaper pages, allowing fragments of headlines and images to remain visible beneath the surface.Across this layered ground, a bold black X interrupts the field — a quiet act of refusal, a break in the relentless visual flow. At the bottom, the small word PLEASE… adds a human note, turning the gesture into a plea for pause.The work speaks to the saturation of information and the omnipresence of media messaging, where truth risks being drowned in constant noise. The X becomes both a barrier and invitation to clarity, while the “please” transforms it into a call for conscious silence.Acrylic and collage on canvas give the piece a tactile depth, holding the space between noise and stillness.

Year: 2025
Medium: Acrylic and ink on newspaper collage, on canvas
Dimensions: 130 × 97 cm

eVeRyThInG wAs FiNe

A reassuring, inverted message that reveals human psychological drift.
Beneath a textured white veil, fragments of hand-drawn images form a restless mosaic, circling the theme of human psychological drift. Above the chaos, U Me scrawls in black: Everything Was Fine — flipped upside down.The inversion forces the viewer to stop, decipher, and confront the irony, the words biting against what lies beneath.
A rough black frame encloses the composition, as if freezing a distorted truth. Behind the statement, fragments and symbols churn — a shared subconscious marked by cracks, tensions, and quiet obsessions.The smooth, calm assertion on top sits like a mask over inner turbulence, prompting the question:how much of what we show is real, and how much is simply cover for what’s breaking inside?

Year: 2025
Medium: Acrylic and ink on paper collage, on canvas
Dimensions: 130 × 97 cm

sIlEnCe

When a forbidden phrase hides in the white… and silence becomes a tool of control.Beneath a soft, almost imperceptible veil of white, the small phrase “contraceptives are taboo” can just be seen. Placed at the heart of the canvas, the concealed message addresses a persistent reality: the refusal, in certain religions and many countries, to acknowledge women’s right to freely control their bodies and access contraception.
Layers of collaged paper and paint act as a metaphor for deliberate erasure — the silencing of women’s voices, demands, and freedoms.Yet the texture and traces breaking through suggest that even under censorship, truth finds its way to the surface.Acrylic and collage on canvas give the work a tactile depth, inviting a closer look and a deeper reflection on a struggle that remains urgent today.

Year: 2025
Medium: Acrylic on paper collage, on canvas
Dimensions: 130 × 97 cm

fRaGiLe

A curled body, a faded face, and all human vulnerability laid bare.Painted directly on a cardboard box, Fragile merges the rough, impermanent quality of its support with the vulnerability of its subject. At the center, a seated figure with knees pulled to the chest and a smooth, featureless face appears sheltered within a soft white halo.To the left, a delicate flower persists in growing; to the right, an empty bowl rests quietly — understated symbols of both precarity and resilience.The word FRAGILE, written in black at the top, becomes a universal caution: the human condition, exposed and unguarded. By choosing cardboard — a material linked to transience, homelessness, and displacement — U Me grounds the work in tangible social reality.The gentle contours of the figure contrast with the harshness of its context, inviting reflection on how society perceives, protects, or overlooks its most vulnerable members.

Year: 2025
Medium: Acrylic and ink on raw cardboard
Dimensions: 110 x 110 cm

mOdErN tImEs

What if, in the near future, robots felt… and also knew precariousness?
Painted on raw cardboard — a humble, fragile surface — U Me depicts a humanoid robot seated on a pink cube, shoelaces untied, with an empty bowl at its feet.Rendered in shades of blue and pale pink, the figure is far from the usual images of strength or technological perfection.
Instead, it appears tired, almost melancholic.Above, the words MODERN TIMES recall Charlie Chaplin’s classic satire on industrialization and dehumanization. Here, the reference shifts to contemporary issues: robotization, artificial intelligence, and automation — but also the imagined future in which these creations might feel, and face the same precarity, neglect, or injustice as humans.By reversing roles, U Me invites us to wonder: if machines could feel, what would they say about the world we will leave them? The choice of cardboard, with its vulnerability and impermanence, underscores the work’s reflection on fragility — technological and human alike.

Year: 2025
Medium: Acrylic and ink on raw cardboard
Dimensions: 120 x 100 cm

sWeEt DrEaMs

When the sweetest dream is simply a bit of humanity.Painted on raw cardboard, Sweet Dreams shows a human figure lying on its side, eyes closed, in a vulnerable resting posture.
Above, the title appears in jagged white letters — a soft promise set against the underlying severity of the scene. Nearby, a small hand-scribbled sign reads: ANYTHING HELPS EVEN A SMILE, placing the image firmly in the context of life on the streets, where even the smallest gestures can carry deep meaning.The brown cardboard surface, often associated with makeshift shelters and the survival strategies of the homeless, becomes an integral part of the narrative. A rough white halo encircles the figure, suggesting both an improvised bed and a fragile shield.By pairing a tender title with a stark reality, U Me challenges viewers to consider their own relationship to compassion and indifference, and to remember that dignity can reside in even the simplest human acts.

Year: 2025
Medium: Acrylic and ink on raw cardboard
Dimensions: 130 x 110 cm