We live in trying times and half the world is going on about daily living devoid of emotional perception as if logic and strategy alone guarantee they get through life unscathed. To their credit, it can work. Self -preservation manifests itself in myriad ways. Then there are people who unabashedly wear their hearts like a badge, freewheeling through joy, loneliness, fear, and a multitude of in-betweens. To each their own, so they say.

Heue might be more of the latter and her paintings convey this. Waves of colours, uncontained, the canvas becomes a vessel of uncontained sensitivity and perceptions of that thing beating inside our chests.

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Tell us about yourself and what inspires you.

I’m Sam, your typical romantic that won’t admit it but I just did so I’ll settle with a human unicorn in constant transition. *tongue emoji here*
Faith, hope, and love inspire me. And the scent of the ocean.

How did you get into marbling? Is there anything about the process that spoke to you and made you decide this is how you want to paint?

I’d spent a lot of time in the water and then photographing the ocean growing up. One night, I dreamt I’d painted the sea on a canvas – I woke up the next morning and dug out some old tubes of paints and then never looked back. This was four years ago. Later on, I stumbled upon works by Mitch Gobel, Megan Watson and the Arthur Brothers and fell in love with their use of colour and technique. It then became pretty apparent that fluid painting was a thing I had to explore.



So much failure is experienced and expanded in the making of anything beautiful and in my case, failure is something that is crucial to the narrative I try to discuss through the mediums I use. The process of marbling is a breathtaking example of collision and mess turn magic. I love that you cannot leave empty-handed even when “failing” at marbling. It’s a creative experience for everyone whether or not they feel artistic, and while I create to release a lot of what I have to say in this chaotic emotional brain I’ve been weaved (or cursed) with (haha), I also create to encourage creating.


What is your process like?

I’m wildly sentimental and venomously dependent on music, so everything I create is a product of the people I’ve met and places I’ve been and well, the music I (could very repetitively) feed on. Process for me isn’t so much putting colour on paper or creating textures or experimenting creation (while that is indisputably important), but more so centred around the people I paint about, the music that make my hands want to pick up a brush, the past conversations that I recall constantly, and the new ones I won’t stop thinking about.



In the past 6 months, I’ve been likening my work to soul portraits of people I’ve encountered, and hence the process involved correlating colour experiments and mood-boarding to the personalities and stories of my muses for these pieces. Writing has also become an important part of the blueprint before the actual creation of artwork.


Any dream projects?

Some installation sketches are on the list — but if I could dream enough to scare my small hands, the goal is to make as many people as possible who feel like they have nothing, create just something. Anything. Regardless of scale or impact. That’s going to be the ongoing dream project, regardless of where these colours take me.