I don’t think Sam V. really thinks he’s an artist.

I think he thinks he’s just a guy living his life, and painting is just an interesting thing he does to keep himself busy. You’ll see from our conversation that his philosophy about his art is kind of a non-philosophy. But it’s not a coy facade, like, “Oh, I don’t think about my art.” It’s sincere, and refreshing.

Sam V. is not trying to be an artist. He just is one. He’s the example of those rare and amazing people that can put a pen to a piece of paper and just start making something truly excellent.

You’d never guess by his work–which is fraught with images of old men in fearful, fetal positions; hands emerging from darkness; swirling cosmos–that Sam V. is as laid-back as a person probably can be. At 25, he seems to be content with not knowing where his life is headed. He has an easy laugh and dresses like any cool and kind of hipster guy. We sipped hot cocoa as we talked casually. And all the while, between us, laid his portfolio, filled with some of the most raw, exciting, skillful drawings and paintings I’ve seen from a non-working artist ever.

How did you first pick it up? I’ve been doodling around since I was a little kid. Probably since I was 5. Just as a hobby. I never really spent a lot of time doing art shows and being organized with it, though, as I got older. I’ve only done a few of them. I want to do more of that sort of thing, but I’m usually never organized.

And you never studied it? I went to ODC [Old Donation Center, an elementary gifted school] when I was in elementary school, but it never really amounted to much. I never went to college for it. I took an art class in high school, and I failed it miserably. I never really wanted to do it, I wanted to do my stuff.

What drives you to make these? Boredom? Do you wake up in the morning and have an image in your head that you have to get out? I don’t really know. Now that I’m really productive with it, I wake up at 4 or 5 in the morning, drink five cups of coffee, and just go at it until 2 in the afternoon, and then I crash and spend the rest of the day in bed. I don’t know if that’s boredom. It keeps my hands busy, keeps me occupied, keeps me productive. I don’t like to let my brain go to mush.

Are these subconscious images? What do you take inspiration from? I don’t really know; they’re just dudes hanging out. [Laughs.] I couldn’t really tell you. They’re just in my brain and come out of my hand.

Well, they’re really powerful. You don’t question that when you see it after it’s done? Like, oh my god, where’d that come from? No, it’s stuff that’s already in my head anyway, so having it on paper is not that big of a surprise. If anything, I often look at it and think there should be more to it. Like, this looks kind of simple, there should be more going on in it.

They’re really intricate, though. They’re not simple at all. Really?

Yeah. So when you start with the blank sheet, do you already have the completed image in your head? No. It’s improv. I usually start by tracing a circle. Then I’ll make three circles on the top there. And then it all kind of improvs from there.

So how do you know when to walk away from it? Um, when I get bored of it. I usually get sick of it. I’ve gotten rid of every blank space, and I don’t like looking at it anymore, then it’s like, ok, now you’re done. But I draw and pen them all in, put them aside, and then I paint them all at the same time. I just get a blow-dryer and then paint them all one right after another.

How many at once? Four.

Always that same process? Yeah, it seems easier that way.

How do you choose these colors? I don’t know, I always use the same colors; these same purples and greens. I like psychedelic colors. I stay away from earthy tones, unless I’m doing skin colors…and even then…now I’m trying to make the skin colors white because I don’t like how the skin tone comes out–it’s kind of dull compared to the rest of the colors.

What do the paintings mean, if anything? Uhh…. [Long pause.] It’s not very specific. It’s more based on mood.

Is there any symbolism? Like these hands emerging, do those mean anything? The purple, black, yellow-nail hands are a recurring theme, but they’re just fun to draw. I used to draw a lot of disgruntled, overweight, wrinkly, old men. It was sort of about the little problems I’ve had with the dominant male culture. So I used to draw these like, disgruntled, distraught, kind of broken, beaten-down, weakened, vulnerable-looking old men. [Laughs.] But that’s the only time I feel like I’ve ever put a very specific theme in anything.

Is there a method to these splatters? Yeah. Well, I don’t really know how to paint. The only semi-deliberate thing is when I tap on it. It’s semi-controlled for the most part because I don’t really have any painting ability. But that’s what I like about watercolor–you don’t really have to know what you’re doing.

Have you thought about using other materials and media other than Sharpies, pen and watercolor? When I have a higher budget. Most of the reason I’ve just been sticking to this is because I don’t have much money. When I have some more money, I want to start working with some 3-D stuff. And if I don’t have fun with it I’ll stop. Or maybe I’ll even try to mess around with oil paint. I’d like to become more well-rounded and not just limited to this.

Have you thought about really doing this professionally? For a while I was doing 7-inch covers and t-shirt designs and stuff like that, but I wasn’t really into it. I don’t really like drawing someone else’s idea. I usually end up half-assing it. I’d rather do my own thing. But if I could make a job out of it, as long as I don’t compromise anything, I’d be all for it.

Do you look at a lot of other artists? I mean, there’s stuff I like, but for the most part, not really. I don’t pay too much attention. There are certain artists I like, certain stuff I get a little inspired by. But I don’t know much about the art world. I just sort of do my little thing.

View the Featured Artist gallery of works by Sam V. >>