My Artistic Vision
About Me
Hi, I’m Sam Gorman — artist, thinker, and the mind behind Sane_And_Able.
My work sits somewhere between chaos and control, between instinct and structure. Whether I’m handcrafting ceramic tiles, sketching intricate pathways of words, or exploring the boundaries between graffiti, street art, and fine art, I’m always chasing the same thing: connection.
I believe art is at its most powerful when it makes you feel like you’re part of it — when it speaks directly to that human urge to see yourself reflected in the world. This belief runs through everything I make, from the Binary Zoom Theory I developed (which looks at how we simplify the world into choices and opposites) to the fine lines and hidden messages in my visuals.
Born and based in Darwen, England, I carry with me the history of industrial towns left to rust, finding beauty and meaning in places others overlook. My practice pulls from graffiti culture, consumerism, self-expression, and the delicate tension between freedom and restriction.
I’m fascinated by cause and effect, by the way even the smallest actions ripple outward. I trust in fate more than free will — though I know the two might just be different names for the same thing.
At the heart of it all, my work is about asking questions. About making space for doubt, for play, for curiosity. About reminding myself (and maybe you) that between every binary, there’s a whole world to explore.
Foundation diploma
Looking back on my time studying the Foundation Diploma in Art and Design at Blackburn, it’s clear how much the tutors there shaped not just my work, but the way I think about making work.
Peter Layzell brought a focus on skill, process, and technique that gave me a solid grounding in the fundamentals of art practice. His attention to detail and his own experience as a painter made me think more seriously about the craft behind the ideas — not just what I was making, but how and why I was making it that way.
Kim Stutard encouraged experimentation and kept the space open for questioning and trying things out. That freedom to explore without fear of getting it wrong was something I really needed at that stage. She helped create an environment where ideas could be pushed, pulled apart, and rebuilt again — and that mindset has stuck with me.
Joanne Conlon, as course leader, brought an energy to the whole experience that made the course feel like more than just a step on the ladder. She championed reflective practice and encouraged a level of thinking about my own process that was new to me at the time. The phrase “trust the process” gets thrown around a lot, but she made it feel like something real and actionable.
Jamie Holman introduced a connection to the world outside the classroom. His experience within the wider arts community and his involvement with industry-focused projects made me see that art isn’t just about what happens in a studio — it’s about engagement, about who your audience is, and about understanding the systems your work exists within. His approach helped me begin to think critically about where my work sits in the broader cultural landscape.
Each of these tutors brought something different, but together they gave me a foundation (literally and figuratively) that continues to shape how I approach my practice today. Their combined influence helped me find a balance between concept and craft, between freedom and discipline, between making for myself and making with an awareness of others.
BA Fine Art
Throughout my time on the BA (Hons) Fine Art course at Blackburn University Centre, I was fortunate to be taught, challenged, and supported by a group of tutors and facilitators whose input has shaped both my practice and the way I think about making work.
Paul Natraj brought a critical and reflective approach that encouraged me to dig deeper into the meaning behind my work — always pushing for clarity in the ideas, not just the outcome. His questioning helped me understand how my practice sits within wider conversations in art and culture.
Steven Baldwin, as Programme Leader, provided the space and structure for creative freedom while keeping the academic standards high. His honest feedback and encouragement helped me find a balance between experimentation and intentionality, between play and purpose.
Jamie Holman connected the classroom to the real world. His involvement in the wider art scene — through projects like the Festival of Making and Prism Contemporary — helped me see the relevance of my work beyond the studio. His perspective shaped how I think about audience, context, and cultural value.
Maria Clara Dantas, working within the Photography area, influenced how I approach storytelling and documentation in my practice. Her focus on narrative and careful construction of visual language helped me become more intentional about how I present my work and its process.
Ian Mathison, as the printmaking facilitator, played a key role in helping me bring ideas into the physical world. His technical knowledge, patience, and willingness to support exploration in the print studio made a huge difference in my understanding of materials and process. Ian’s input helped ground my work — reminding me that even the most conceptual ideas still benefit from craft, care, and hands-on making.
Joanne Conlon brought a steady and encouraging presence throughout my time on the course. Her focus on reflective practice and critical thinking helped me to slow down, to consider not just what I was doing, but why I was doing it. She created space for honest reflection, which has become a big part of how I now approach both making and writing about my work.
The combined influence of these people provided not just education, but mentorship. Each, in their own way, challenged me to develop both skill and criticality, and I carry their guidance with me in how I approach my work today.
Join the Conversation
Engage with My Art
I invite you to explore my body of work and participate in the ongoing dialogue of creativity and insight.
Your thoughts and reflections are an integral part of this journey.
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