With his signature sunbursts and colourful paintings of the North Norfolk coast, especially his native Cromer, Samuel Thomas’ optimistic, often pop art-esque work is instantly recognisable and has quite a following. But back in his twenties, this self-taught artist’s optimism was tested. 

After being rejected by Norwich School of Art and leaving university just three months into a graphic design course, Samuel’s determination to become a full-time artist remained undimmed. ‘I wasn’t disheartened, it simply opened a more exciting path in front of me,’ Samuel explains. ‘When people chase their dream career, they’re often told to have a backup plan. But sometimes you need to commit fully. That pressure forces you to find opportunities you might otherwise miss.’

Samuel supported himself by working in hospitality and got creative, in more ways than one:

‘In my early days, I would finish my shift at my full-time bar job and then go home to carry on painting in the studio. I didn’t have much money for artist materials, but I had a big imagination, and therefore I used lots of unconventional materials to create some of my artworks.

‘Being self-taught meant I was free to try different things and go in different directions. Creativity is all about having the freedom to ‘play’ – and that’s what I do to create unique pieces with unique stories.

‘So, for example, one morning I found dried up coffee in my cup – and decided to use coffee to paint with – resulting in a Cromer sunset painting that later sold and made its way to Germany. The old floorboards from the studio had been put in the skip by the builders. I pulled them out and created a series of paintings using the wood grain as the key pattern.’ Old playing cards, meanwhile, found their way into his depiction of Big Ben.

Many of Samuel’s best-known pieces are defined by their materials and the stories behind them. ‘Cromer – All at Sea’ for instance, incorporates a life ring washed ashore during the 2013 tidal surge, transforming storm debris into a symbol of resilience and community rebuilding.

‘Winter at Weybourne’ features real sand to create textured, snow-like effects, while ‘Surfboard Sunset’ captures the Cromer coastline on a reclaimed surfboard, adding extra resonance through the object’s history. Samuel has also extended his signature sunburst motif onto unexpected surfaces, including a classic VW Beetle, a beach hut and even the ceiling of a collector’s Art Deco 1920s home.

More conventionally, you’ll find his originals and limited-edition prints in local galleries including Sanders & Christie Gallery in Sheringham (currently showing a collection of Samuel’s new work) and The Garden House Gallery in Cromer, where Samuel’s summer exhibition will run from 15 to 31 August (and where you can always see a full range of his prints). 

If there’s something you want to do,’ Samuel concludes, ‘don’t hold yourself back. Find a way to make it happen – and enjoy the process.’

You can see Samuel’s full range of originals, prints and cards at www.samuelthomasart.co.uk and he also undertakes commissions.