As Socrome, Hakim Idriss carved out a name in the world of graffiti, a genre that became his launchpad for creative exploration and personal expression. Now based in Dubai, Idriss discusses his journey of artistic growth and transformation: from discovering the freedom in graffiti’s calligraphic lines to his recent shift into abstract painting.
In a in-depth conversation with Dubai based cultural analyst and journalist Egor Sharay, Hakim Idriss, widely known by his artist alias Socrome, opens up about the journey that led him from graffiti-splashed walls to gallery canvases worldwide. Known for blending the expressive power of calligraphy with the rhythmic energy of large-scale murals, Idriss has spent over two decades capturing the fluidity of form and the spontaneity of street art.
Egor Sharay: What early influences and experiences shaped your artistic journey?
Hakim Idriss: I have always been deeply sensitive to artistic creation in various forms, beyond just painting and drawing, which are of course the areas where I feel most at ease and enjoy expressing myself. Music, for example, has always been very important to me, and I draw a lot from it. For this exhibition, I chose to lean heavily on the musical aspect by giving each piece the title of a song I listen to. It’s hard to pinpoint specific influences, but I see myself as an heir to all the great painters who have shaped our history. This includes not just contemporary or traditional examples, but also those from the Renaissance and highly figurative painting, which greatly impacted me. This is why I started with a very figurative approach to painting and am now gradually transitioning towards abstraction. And of course, my journey in graffiti, with a focus on calligraphy and movement, has influenced me. Graffiti is a highly collective art form, even though I’m not as intensely involved as I once was; currently, I work more within galleries.
ESh: How has your artistic style evolved over time? What are the key turning points in your career?
HI: I’ve always been curious about painting and drawing, as many children are, but unlike others, I never stopped. One major turning point was discovering graffiti, especially its calligraphic aspect, which opened doors within me. I felt a true thirst for freedom and self-expression. Painting large-scale murals brings a different relationship with the medium; it’s much more connected to the body and the full-body movement, and to the environment and the people living there. I’ve had the chance to explore different environments, people, and cultures. That was truly an explosion in my journey – the Big Bang of my artistic path. And although graffiti was foundational, I’m not confined to it. Today, I’m more of a painter looking to channel my calligraphic and gestural essence into abstract painting, transitioning from a figurative base. Another milestone was moving back to my homeland, the Comoros, where I contributed to developing art and had a chance to share and pass on my skills. I think there’s a bit of activism in my approach to art. Right now, my move to Dubai and the focus on studio work and canvases mark an important period.
ESh: How do you use color and composition to convey meaning and emotion in your work?
HI: Color is very important to me, yet also not at all. In my early work, it was all about contrast, form, and movement, rather than color. This foundation, influenced by calligraphy, shaped my initial work, focusing on the essence of shapes and movement. Color came later, after I had developed my work in movement, lines, and forms. I enjoy creating impactful pieces and, increasingly, I use a minimalist palette with just two or three colors per canvas, sometimes more if I feel it’s needed. But I love the impact of a limited palette and aim for each combination to be striking, transmitting energy and emotion.
ESh: How does your Comorian heritage influence your work, and how do you bridge the gap between your cultural roots and contemporary art practices?
HI: This is central to my work, consciously or unconsciously. For many years, my artist name was “Socrome,” an anagram of “Comores” (Comoros). Working on identity, or rather identities, is something I’ve been exploring for a long time. The more I explore it, the more I realize its richness. Identity isn’t static; it’s layered and evolving. My Comorian heritage forms the foundation of who I am, even as I embrace both what it is and isn’t. Growing up in Paris and having French influences, I also carry many other identities. But my Comorian roots are particularly important, which is why I feel a strong connection with the Comoros. It’s a small but culturally rich country, at the crossroads of Arab, Islamic, African, French-influenced, and islander identities. My work reflects this diversity. I like to engage with this heritage in a playful and un-stereotyped way, breaking free from conventional portrayals and even distancing myself from it at times. I think it’s essential to liberate oneself from rigid standards, and that’s what I’m pursuing. My recent work on Emirati heritage in this exhibition feels very close to my own.
ESh: What prompted the transition from large-scale murals to canvas-based work?
HI: Canvas never really attracted me for years; it took nearly 25 years before I felt the urge to work on one. I found it too small and lacking the history that walls, neighborhoods, and people’s lives bring. For me, murals are deeply connected to communities and environments. However, at some point, I felt the desire to work in a more introspective way and at a different pace than what I was doing in public spaces. With murals, I typically had to complete them in a day or two, which required a spontaneous approach. Now, I want to go deeper and take my time, exploring my inner self more fully. Working on canvas allows me to step back, view it with fresh eyes, and make adjustments – a process I appreciate. Canvas work also offers more permanence, as murals are ephemeral and fragile.
ESh: You’ve exhibited internationally. How has this exposure impacted your career and artistic vision?
HI: I haven’t exhibited internationally on canvas as much as with mural interventions. In terms of public display, I’ve had many international projects, whether in Morocco, the Comoros, or the United States. A couple of years ago, I exhibited in Washington, but a truly personal solo exhibition with a months-long body of work is a first for me here in Dubai. International exposure has been incredibly enriching. I don’t say this lightly; I aim to distance myself from stereotypical expectations of artists. Being around people from diverse backgrounds has been a huge source of inspiration for me. In Dubai, you encounter people from all over the world. Traveling isn’t always necessary to travel within yourself. Mural art, which is collective by nature, also taught me a lot technically, especially about color combinations, which I see as almost sacred and scientific. Now, my goal is to incorporate these influences into my studio work.
ESh: Do you believe art can be a tool for social change? If so, how do you incorporate social and political themes into your work?
HI: Honestly, I’m not sure. I wouldn’t say I’m overtly political in my work, though there have been instances where social or political themes have appeared. My primary motivation is very personal – desire to express myself, find my place, and explore questions that are often difficult to articulate. For me, art has a poetic quality, a form of pure expression, so yes, it can touch on social aspects. In the Comoros, art has been a cultural bridge, providing an accessible form of art for people, especially in areas where cultural offerings are limited. Displaying art publicly can indeed have a social or even political impact. But I don’t think art must always serve a cause to be interesting. The most important thing is that it’s sincere and authentic.
ESh: What are your thoughts on the contemporary art market, especially in the Middle East?
HI: I know very little about the contemporary art market, as this is entirely new for me. I purposely stayed away from institutions, galleries, and the market. Now, I’m starting to understand it, and it’s going to take time. I have people around me helping me navigate this, and I’m entering this realm with my own approach, determined to remain true to myself. It’s a challenge, and I’m excited about it. I know the business aspect is necessary for sustainability, and I’m conscious of it, but my main focus remains on finding my voice. The key is to stay genuine and build connections with people who resonate with my work.
ESh: What are your future plans and aspirations as an artist? Are there any specific themes or techniques you’re excited to explore?
HI: Honestly, I’m very excited. After 25 years of painting, I feel like there’s so much more to explore. I’m just getting started. I’m eager to push my skills further. I want to create multiple exhibitions, explore new directions, and hone my knife-painting technique, which is my current focus. I’m also highly drawn to sculpture and would love to create large-scale sculptures, experimenting with volume and finding something innovative. Sculpture feels like a path I must explore, and I’m determined to make it happen. Thank you very much for reaching out. Feel free to follow me on social media or my website.
