AS: To get to know you better, we’d like to know what’s your background,
what you studied.
SK: Errr, so I’m originally from West Yorkshire and I studied my
foundation in Leeds. I did a BA at Wimbledon in Sculpture
and I’m currently doing a year postgraduate course in fine art at
the Royal Academy of Arts.
AS: So, everything *laughs*
SK: Everything. Performance sometimes. Sculptures, but not good ones. *laughs*
AS: Your work is quite conceptual on fine art.
SK: Yeah it’s fine art but I’ve been working recently on making narrative based horror films. Queer, gay horror films. Because I kind of think of horror being a campy, gay genre of films. There’s never been good gay, horror films. I’m working on making that and I’ve been writing short stories. A lot of them are based around loneliness or an idea of wanting to be something else or not fitting in. And the idea of being exaggerated with campy things are like facades, or the kind of revealing of the fake personas by things you’d like to be. I think a lot of that is based around the ideas of wanting to be something more or different to who you are, and I think there’s a lot of that within the queer culture.
AS: How do you come up with your concepts? What’s inspiring you?
SK: A sense of weird, kind of darkness. A kind of under-laying of all the mundane, boring things we do every day, or the weird actions that we perform. I don’t know, the ridiculousness of some of them and the kind of weight we put upon certain things that don’t really matter that much. How these take over aspects of our life and can be quite dark at times, humans can generally be immoral. I think that if you believe this is a sad or dark thing, then it can be quite boring and cliché. It can feel quite contrived. Whereas if you come at things in a kind of fun or weirder way it’s more engaging and people can get more from it. If that’s helpful?
Find Sam's work here
AS: Do you think your work is solely personal or do you try to show a social approach to it?
SK: I think at the moment most of my work is quite personal, but I think I’d like these horror sort of things move into a wider sector. In my experience, there’s a lot of people that don’t get represented so much in film, that I’d like to bring other people’s viewpoints. There’s only so long you can keep with your own ways of seeing the world, as It’s good to bring other people in and mix things up a little bit. I kind of like to have a diverse range of people in my films so it’s not homogenous.
AS: What piece of your work would you like to be remembered for? Or which of your work are you particularly in love with and if so, why?
SK: With art, you never make something you’re ever happy with. You look to the next thing that’s leading on. You’re always aspiring to go to the next thing and you’re almost there but you never quite get there. I’d say if it had to be one it would be the stuff I did as the roman character. It was different to my other work and is the sort of direction I’d like to head in with future work, it’s campy. And if you would speak to me in five months’ time, it would probably be different.