Welcome to 15 Questions With…, a new interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unites those responsible for the art we love.
Sam Robinson is a British-Catalan photographer and filmmaker whose work centres on human connection, emotional clarity and the nuance of everyday experience. Working across still and moving images for over 25 years, Robinson’s practice is rooted in observation, seeking out gesture, intimacy, and genuine expression in both constructed and documentary environments. His approach reflects a sustained interest in collaboration and community, shaping imagery that feels lived-in, empathetic and deeply present.
Robinson’s achievements include an Honorary Doctorate for Contribution to the Arts from Nottingham Trent University, alongside major awards such as Portrait of Humanity, Portrait of Britain, the AOP Fashion & Beauty Award, Rangefinder Best Portrait Award, PDN One Life Photo Award, and the Independent Shorts Award for Best Director, among others.
His extensive commercial collaborations span global brands including Nike, Google, Apple, British Airways and Disney, and his work has been recognised internationally across photography and film festivals. Beyond his image-making, Robinson has founded several influential creative spaces — Good Things Happen Ltd., The Shop, Paper Mill Studios, Acorns, and Five Winds — each reflecting an ongoing commitment to supporting artistic production and the creative community. He works between his studios in Brooklyn and London, continuing to cultivate transatlantic creative networks and collaborative practice.
Later this month, from 24 - 28 November, his work will be exhibited at The Story Lens Talks: London, a group exhibition in Noho Galleries, featuring the work of 10 innovative photographers, organised by fellow photographer Lucia Domenici.
1. What is your earliest memory of a work of art?
Growing up in Barcelona, I was surrounded by art everywhere — it wasn’t confined to galleries, it was part of the streets and everyday life. The influence of Miró was especially strong; his shapes and colours were woven into the city itself, from murals on the pavements to the branding on local shops. Catalans are so proud of that artistic heritage — it really shaped how I see creativity today.
2. Where do you turn to when you're in need of inspiration?
I find the best thing is to disconnect — step away from screens, go for a walk, and just be present. When I travel, I make a point to stop and think rather than rush. So much of our lives is spent in constant stimulation, so I find real inspiration in moments of stillness — walking through places like Hampstead Heath or Prospect Park, depending on which city I am in, just taking it all in.
3. Is there an artistic skill you wish you were better at?
I’ve always wished I could draw — it’s probably why I started taking pictures instead. But if I had to choose something else, it would be the piano. There’ve been a few moments in my life where I’ve been with someone who can just sit down and play, and it feels so human and connected. I don’t need to sing or perform, but I’d love to be part of that impromptu moment — someone starts playing in a restaurant, and you just feel it.
4. Who is your favourite artist?
That’s a tough one — there are so many artists and photographers who’ve influenced my work. William Eggleston has had a huge impact on how I see colour and composition; I always feel inspired when I look at his images. I remember going to a Guy Bourdin exhibition at the Wapping Project in London, and it completely opened my eyes to how he used form and colour. But if I had to pick one, it would be Bridget Riley. I’d love to own one of her pieces — I could stare at it for hours and just get lost in it.
5. What's the biggest crime an artist can commit?
I think claiming to be unique is the biggest one. There’s such an obsession with originality, but I find that idea a bit offensive — it denies your family, your culture, and all the influences that shape you. The artists I admire most are those who are open about what inspires them and where their ideas come from. The belief that you exist in isolation, untouched by influence, feels like a betrayal of your own upbringing.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Fundació Joan Miró in Barcelona, both for its location and its collection. It gives such a clear sense of who Miró was and how deeply his work is woven into Catalan culture. But beyond that, I think everyone should make a point of visiting their local gallery or museum at least once a year. There’s always something new to see when you take the time to look.
7. What is the worst thing about the art world?
I’ve always felt like I skirt the edges of the art world rather than exist fully within it. The thing that frustrates me most is how narrowly art is defined. I’ve worked with people like Jamie Oliver — an incredible chef and entrepreneur — yet he wouldn’t be considered an artist, which feels absurd to me. The same goes for an inspiring teacher, an athlete, or a musician; anyone who hones their craft creatively is, in their own way, an artist. The idea that art only counts if it’s sold for a lot of money or hung on a gallery wall feels outdated. Creativity exists everywhere — we just don’t always call it art.
8. Whose opinions on art do you actually care about?
It’s a good question, because the reality is a bit contradictory. Even though I’m cynical about the boundaries of what’s considered art, being recognised as an artist is still an honour. But claiming that title for yourself doesn’t mean much to me. I value the opinions of people who simply look at my work and connect with it. I’m not too concerned with the label of “artist” — I care more about whether something resonates with someone than whether it fits the definition of art.
9. What trend in art makes you roll your eyes?
Trends in art are usually financially driven. NFTs are the perfect example — they were a joke until people started making money, and then suddenly everyone was doing it, until they weren’t. That cycle says it all. I think chasing trends misses the point entirely. You should just create and pursue the work itself, not the moment.
10. Who are the last three musical artists you listened to?
Lily Allen’s new album — it’s amazing. She’s brilliant at turning personal conflict into pure expression. I’ve also been listening to The Cinematic Orchestra; their sound feels like an ambient soundtrack to my life. Music plays a huge role in my work — I have a monthly on-set mix created by a DJ based in New York, so I’m constantly being introduced to new sounds.
11. What's your favourite colour and why?
Red, yellow, and blue. Red is my mum’s favourite colour, so it’s always felt personal to me. Together, those three colours feel very Catalan — bold, bright, and full of energy. I’ve always been drawn to strong, vivid tones, and the culture behind them makes me feel grounded and connected.
12. What three items would you grab if your house was burning down?
My wife and kids — if that counts. And honestly, I’d probably just grab a fire extinguisher and try to put it out. This question is stressing me out!
13. What do you like to do when you need to take a break from your practice?
Walking and tennis — I love tennis. And talking, honestly. It’s without a doubt my favourite pastime.
14. How did you get involved in the Story Lens exhibition, which opens at Noho Galleries on 25 November?
A friend asked me to take part, and I was genuinely honoured. It came through one of the other contributors, someone I’d met on a project a few years ago — it felt like a full-circle moment.
15. Which piece of yours in the show took the longest to perfect and why?
The three pieces in the exhibition are part of a larger body of work that took a couple of years to create. It’s a film about humanity — our desire and need to communicate — and how the pinnacle of that communication is touch. It’s not just one image, but a full body of work that I’m really proud of.
Welcome to 15 Questions With…, a new interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unites those responsible for the art we love.
Sam Robinson is a British-Catalan photographer and filmmaker whose work centres on human connection, emotional clarity and the nuance of everyday experience. Working across still and moving images for over 25 years, Robinson’s practice is rooted in observation, seeking out gesture, intimacy, and genuine expression in both constructed and documentary environments. His approach reflects a sustained interest in collaboration and community, shaping imagery that feels lived-in, empathetic and deeply present.
Robinson’s achievements include an Honorary Doctorate for Contribution to the Arts from Nottingham Trent University, alongside major awards such as Portrait of Humanity, Portrait of Britain, the AOP Fashion & Beauty Award, Rangefinder Best Portrait Award, PDN One Life Photo Award, and the Independent Shorts Award for Best Director, among others.
His extensive commercial collaborations span global brands including Nike, Google, Apple, British Airways and Disney, and his work has been recognised internationally across photography and film festivals. Beyond his image-making, Robinson has founded several influential creative spaces — Good Things Happen Ltd., The Shop, Paper Mill Studios, Acorns, and Five Winds — each reflecting an ongoing commitment to supporting artistic production and the creative community. He works between his studios in Brooklyn and London, continuing to cultivate transatlantic creative networks and collaborative practice.
Later this month, from 24 - 28 November, his work will be exhibited at The Story Lens Talks: London, a group exhibition in Noho Galleries, featuring the work of 10 innovative photographers, organised by fellow photographer Lucia Domenici.
1. What is your earliest memory of a work of art?
Growing up in Barcelona, I was surrounded by art everywhere — it wasn’t confined to galleries, it was part of the streets and everyday life. The influence of Miró was especially strong; his shapes and colours were woven into the city itself, from murals on the pavements to the branding on local shops. Catalans are so proud of that artistic heritage — it really shaped how I see creativity today.
2. Where do you turn to when you're in need of inspiration?
I find the best thing is to disconnect — step away from screens, go for a walk, and just be present. When I travel, I make a point to stop and think rather than rush. So much of our lives is spent in constant stimulation, so I find real inspiration in moments of stillness — walking through places like Hampstead Heath or Prospect Park, depending on which city I am in, just taking it all in.
3. Is there an artistic skill you wish you were better at?
I’ve always wished I could draw — it’s probably why I started taking pictures instead. But if I had to choose something else, it would be the piano. There’ve been a few moments in my life where I’ve been with someone who can just sit down and play, and it feels so human and connected. I don’t need to sing or perform, but I’d love to be part of that impromptu moment — someone starts playing in a restaurant, and you just feel it.
4. Who is your favourite artist?
That’s a tough one — there are so many artists and photographers who’ve influenced my work. William Eggleston has had a huge impact on how I see colour and composition; I always feel inspired when I look at his images. I remember going to a Guy Bourdin exhibition at the Wapping Project in London, and it completely opened my eyes to how he used form and colour. But if I had to pick one, it would be Bridget Riley. I’d love to own one of her pieces — I could stare at it for hours and just get lost in it.
5. What's the biggest crime an artist can commit?
I think claiming to be unique is the biggest one. There’s such an obsession with originality, but I find that idea a bit offensive — it denies your family, your culture, and all the influences that shape you. The artists I admire most are those who are open about what inspires them and where their ideas come from. The belief that you exist in isolation, untouched by influence, feels like a betrayal of your own upbringing.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Fundació Joan Miró in Barcelona, both for its location and its collection. It gives such a clear sense of who Miró was and how deeply his work is woven into Catalan culture. But beyond that, I think everyone should make a point of visiting their local gallery or museum at least once a year. There’s always something new to see when you take the time to look.
7. What is the worst thing about the art world?
I’ve always felt like I skirt the edges of the art world rather than exist fully within it. The thing that frustrates me most is how narrowly art is defined. I’ve worked with people like Jamie Oliver — an incredible chef and entrepreneur — yet he wouldn’t be considered an artist, which feels absurd to me. The same goes for an inspiring teacher, an athlete, or a musician; anyone who hones their craft creatively is, in their own way, an artist. The idea that art only counts if it’s sold for a lot of money or hung on a gallery wall feels outdated. Creativity exists everywhere — we just don’t always call it art.
8. Whose opinions on art do you actually care about?
It’s a good question, because the reality is a bit contradictory. Even though I’m cynical about the boundaries of what’s considered art, being recognised as an artist is still an honour. But claiming that title for yourself doesn’t mean much to me. I value the opinions of people who simply look at my work and connect with it. I’m not too concerned with the label of “artist” — I care more about whether something resonates with someone than whether it fits the definition of art.
9. What trend in art makes you roll your eyes?
Trends in art are usually financially driven. NFTs are the perfect example — they were a joke until people started making money, and then suddenly everyone was doing it, until they weren’t. That cycle says it all. I think chasing trends misses the point entirely. You should just create and pursue the work itself, not the moment.
10. Who are the last three musical artists you listened to?
Lily Allen’s new album — it’s amazing. She’s brilliant at turning personal conflict into pure expression. I’ve also been listening to The Cinematic Orchestra; their sound feels like an ambient soundtrack to my life. Music plays a huge role in my work — I have a monthly on-set mix created by a DJ based in New York, so I’m constantly being introduced to new sounds.
11. What's your favourite colour and why?
Red, yellow, and blue. Red is my mum’s favourite colour, so it’s always felt personal to me. Together, those three colours feel very Catalan — bold, bright, and full of energy. I’ve always been drawn to strong, vivid tones, and the culture behind them makes me feel grounded and connected.
12. What three items would you grab if your house was burning down?
My wife and kids — if that counts. And honestly, I’d probably just grab a fire extinguisher and try to put it out. This question is stressing me out!
13. What do you like to do when you need to take a break from your practice?
Walking and tennis — I love tennis. And talking, honestly. It’s without a doubt my favourite pastime.
14. How did you get involved in the Story Lens exhibition, which opens at Noho Galleries on 25 November?
A friend asked me to take part, and I was genuinely honoured. It came through one of the other contributors, someone I’d met on a project a few years ago — it felt like a full-circle moment.
15. Which piece of yours in the show took the longest to perfect and why?
The three pieces in the exhibition are part of a larger body of work that took a couple of years to create. It’s a film about humanity — our desire and need to communicate — and how the pinnacle of that communication is touch. It’s not just one image, but a full body of work that I’m really proud of.
Welcome to 15 Questions With…, a new interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unites those responsible for the art we love.
Sam Robinson is a British-Catalan photographer and filmmaker whose work centres on human connection, emotional clarity and the nuance of everyday experience. Working across still and moving images for over 25 years, Robinson’s practice is rooted in observation, seeking out gesture, intimacy, and genuine expression in both constructed and documentary environments. His approach reflects a sustained interest in collaboration and community, shaping imagery that feels lived-in, empathetic and deeply present.
Robinson’s achievements include an Honorary Doctorate for Contribution to the Arts from Nottingham Trent University, alongside major awards such as Portrait of Humanity, Portrait of Britain, the AOP Fashion & Beauty Award, Rangefinder Best Portrait Award, PDN One Life Photo Award, and the Independent Shorts Award for Best Director, among others.
His extensive commercial collaborations span global brands including Nike, Google, Apple, British Airways and Disney, and his work has been recognised internationally across photography and film festivals. Beyond his image-making, Robinson has founded several influential creative spaces — Good Things Happen Ltd., The Shop, Paper Mill Studios, Acorns, and Five Winds — each reflecting an ongoing commitment to supporting artistic production and the creative community. He works between his studios in Brooklyn and London, continuing to cultivate transatlantic creative networks and collaborative practice.
Later this month, from 24 - 28 November, his work will be exhibited at The Story Lens Talks: London, a group exhibition in Noho Galleries, featuring the work of 10 innovative photographers, organised by fellow photographer Lucia Domenici.
1. What is your earliest memory of a work of art?
Growing up in Barcelona, I was surrounded by art everywhere — it wasn’t confined to galleries, it was part of the streets and everyday life. The influence of Miró was especially strong; his shapes and colours were woven into the city itself, from murals on the pavements to the branding on local shops. Catalans are so proud of that artistic heritage — it really shaped how I see creativity today.
2. Where do you turn to when you're in need of inspiration?
I find the best thing is to disconnect — step away from screens, go for a walk, and just be present. When I travel, I make a point to stop and think rather than rush. So much of our lives is spent in constant stimulation, so I find real inspiration in moments of stillness — walking through places like Hampstead Heath or Prospect Park, depending on which city I am in, just taking it all in.
3. Is there an artistic skill you wish you were better at?
I’ve always wished I could draw — it’s probably why I started taking pictures instead. But if I had to choose something else, it would be the piano. There’ve been a few moments in my life where I’ve been with someone who can just sit down and play, and it feels so human and connected. I don’t need to sing or perform, but I’d love to be part of that impromptu moment — someone starts playing in a restaurant, and you just feel it.
4. Who is your favourite artist?
That’s a tough one — there are so many artists and photographers who’ve influenced my work. William Eggleston has had a huge impact on how I see colour and composition; I always feel inspired when I look at his images. I remember going to a Guy Bourdin exhibition at the Wapping Project in London, and it completely opened my eyes to how he used form and colour. But if I had to pick one, it would be Bridget Riley. I’d love to own one of her pieces — I could stare at it for hours and just get lost in it.
5. What's the biggest crime an artist can commit?
I think claiming to be unique is the biggest one. There’s such an obsession with originality, but I find that idea a bit offensive — it denies your family, your culture, and all the influences that shape you. The artists I admire most are those who are open about what inspires them and where their ideas come from. The belief that you exist in isolation, untouched by influence, feels like a betrayal of your own upbringing.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Fundació Joan Miró in Barcelona, both for its location and its collection. It gives such a clear sense of who Miró was and how deeply his work is woven into Catalan culture. But beyond that, I think everyone should make a point of visiting their local gallery or museum at least once a year. There’s always something new to see when you take the time to look.
7. What is the worst thing about the art world?
I’ve always felt like I skirt the edges of the art world rather than exist fully within it. The thing that frustrates me most is how narrowly art is defined. I’ve worked with people like Jamie Oliver — an incredible chef and entrepreneur — yet he wouldn’t be considered an artist, which feels absurd to me. The same goes for an inspiring teacher, an athlete, or a musician; anyone who hones their craft creatively is, in their own way, an artist. The idea that art only counts if it’s sold for a lot of money or hung on a gallery wall feels outdated. Creativity exists everywhere — we just don’t always call it art.
8. Whose opinions on art do you actually care about?
It’s a good question, because the reality is a bit contradictory. Even though I’m cynical about the boundaries of what’s considered art, being recognised as an artist is still an honour. But claiming that title for yourself doesn’t mean much to me. I value the opinions of people who simply look at my work and connect with it. I’m not too concerned with the label of “artist” — I care more about whether something resonates with someone than whether it fits the definition of art.
9. What trend in art makes you roll your eyes?
Trends in art are usually financially driven. NFTs are the perfect example — they were a joke until people started making money, and then suddenly everyone was doing it, until they weren’t. That cycle says it all. I think chasing trends misses the point entirely. You should just create and pursue the work itself, not the moment.
10. Who are the last three musical artists you listened to?
Lily Allen’s new album — it’s amazing. She’s brilliant at turning personal conflict into pure expression. I’ve also been listening to The Cinematic Orchestra; their sound feels like an ambient soundtrack to my life. Music plays a huge role in my work — I have a monthly on-set mix created by a DJ based in New York, so I’m constantly being introduced to new sounds.
11. What's your favourite colour and why?
Red, yellow, and blue. Red is my mum’s favourite colour, so it’s always felt personal to me. Together, those three colours feel very Catalan — bold, bright, and full of energy. I’ve always been drawn to strong, vivid tones, and the culture behind them makes me feel grounded and connected.
12. What three items would you grab if your house was burning down?
My wife and kids — if that counts. And honestly, I’d probably just grab a fire extinguisher and try to put it out. This question is stressing me out!
13. What do you like to do when you need to take a break from your practice?
Walking and tennis — I love tennis. And talking, honestly. It’s without a doubt my favourite pastime.
14. How did you get involved in the Story Lens exhibition, which opens at Noho Galleries on 25 November?
A friend asked me to take part, and I was genuinely honoured. It came through one of the other contributors, someone I’d met on a project a few years ago — it felt like a full-circle moment.
15. Which piece of yours in the show took the longest to perfect and why?
The three pieces in the exhibition are part of a larger body of work that took a couple of years to create. It’s a film about humanity — our desire and need to communicate — and how the pinnacle of that communication is touch. It’s not just one image, but a full body of work that I’m really proud of.
Welcome to 15 Questions With…, a new interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unites those responsible for the art we love.
Sam Robinson is a British-Catalan photographer and filmmaker whose work centres on human connection, emotional clarity and the nuance of everyday experience. Working across still and moving images for over 25 years, Robinson’s practice is rooted in observation, seeking out gesture, intimacy, and genuine expression in both constructed and documentary environments. His approach reflects a sustained interest in collaboration and community, shaping imagery that feels lived-in, empathetic and deeply present.
Robinson’s achievements include an Honorary Doctorate for Contribution to the Arts from Nottingham Trent University, alongside major awards such as Portrait of Humanity, Portrait of Britain, the AOP Fashion & Beauty Award, Rangefinder Best Portrait Award, PDN One Life Photo Award, and the Independent Shorts Award for Best Director, among others.
His extensive commercial collaborations span global brands including Nike, Google, Apple, British Airways and Disney, and his work has been recognised internationally across photography and film festivals. Beyond his image-making, Robinson has founded several influential creative spaces — Good Things Happen Ltd., The Shop, Paper Mill Studios, Acorns, and Five Winds — each reflecting an ongoing commitment to supporting artistic production and the creative community. He works between his studios in Brooklyn and London, continuing to cultivate transatlantic creative networks and collaborative practice.
Later this month, from 24 - 28 November, his work will be exhibited at The Story Lens Talks: London, a group exhibition in Noho Galleries, featuring the work of 10 innovative photographers, organised by fellow photographer Lucia Domenici.
1. What is your earliest memory of a work of art?
Growing up in Barcelona, I was surrounded by art everywhere — it wasn’t confined to galleries, it was part of the streets and everyday life. The influence of Miró was especially strong; his shapes and colours were woven into the city itself, from murals on the pavements to the branding on local shops. Catalans are so proud of that artistic heritage — it really shaped how I see creativity today.
2. Where do you turn to when you're in need of inspiration?
I find the best thing is to disconnect — step away from screens, go for a walk, and just be present. When I travel, I make a point to stop and think rather than rush. So much of our lives is spent in constant stimulation, so I find real inspiration in moments of stillness — walking through places like Hampstead Heath or Prospect Park, depending on which city I am in, just taking it all in.
3. Is there an artistic skill you wish you were better at?
I’ve always wished I could draw — it’s probably why I started taking pictures instead. But if I had to choose something else, it would be the piano. There’ve been a few moments in my life where I’ve been with someone who can just sit down and play, and it feels so human and connected. I don’t need to sing or perform, but I’d love to be part of that impromptu moment — someone starts playing in a restaurant, and you just feel it.
4. Who is your favourite artist?
That’s a tough one — there are so many artists and photographers who’ve influenced my work. William Eggleston has had a huge impact on how I see colour and composition; I always feel inspired when I look at his images. I remember going to a Guy Bourdin exhibition at the Wapping Project in London, and it completely opened my eyes to how he used form and colour. But if I had to pick one, it would be Bridget Riley. I’d love to own one of her pieces — I could stare at it for hours and just get lost in it.
5. What's the biggest crime an artist can commit?
I think claiming to be unique is the biggest one. There’s such an obsession with originality, but I find that idea a bit offensive — it denies your family, your culture, and all the influences that shape you. The artists I admire most are those who are open about what inspires them and where their ideas come from. The belief that you exist in isolation, untouched by influence, feels like a betrayal of your own upbringing.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Fundació Joan Miró in Barcelona, both for its location and its collection. It gives such a clear sense of who Miró was and how deeply his work is woven into Catalan culture. But beyond that, I think everyone should make a point of visiting their local gallery or museum at least once a year. There’s always something new to see when you take the time to look.
7. What is the worst thing about the art world?
I’ve always felt like I skirt the edges of the art world rather than exist fully within it. The thing that frustrates me most is how narrowly art is defined. I’ve worked with people like Jamie Oliver — an incredible chef and entrepreneur — yet he wouldn’t be considered an artist, which feels absurd to me. The same goes for an inspiring teacher, an athlete, or a musician; anyone who hones their craft creatively is, in their own way, an artist. The idea that art only counts if it’s sold for a lot of money or hung on a gallery wall feels outdated. Creativity exists everywhere — we just don’t always call it art.
8. Whose opinions on art do you actually care about?
It’s a good question, because the reality is a bit contradictory. Even though I’m cynical about the boundaries of what’s considered art, being recognised as an artist is still an honour. But claiming that title for yourself doesn’t mean much to me. I value the opinions of people who simply look at my work and connect with it. I’m not too concerned with the label of “artist” — I care more about whether something resonates with someone than whether it fits the definition of art.
9. What trend in art makes you roll your eyes?
Trends in art are usually financially driven. NFTs are the perfect example — they were a joke until people started making money, and then suddenly everyone was doing it, until they weren’t. That cycle says it all. I think chasing trends misses the point entirely. You should just create and pursue the work itself, not the moment.
10. Who are the last three musical artists you listened to?
Lily Allen’s new album — it’s amazing. She’s brilliant at turning personal conflict into pure expression. I’ve also been listening to The Cinematic Orchestra; their sound feels like an ambient soundtrack to my life. Music plays a huge role in my work — I have a monthly on-set mix created by a DJ based in New York, so I’m constantly being introduced to new sounds.
11. What's your favourite colour and why?
Red, yellow, and blue. Red is my mum’s favourite colour, so it’s always felt personal to me. Together, those three colours feel very Catalan — bold, bright, and full of energy. I’ve always been drawn to strong, vivid tones, and the culture behind them makes me feel grounded and connected.
12. What three items would you grab if your house was burning down?
My wife and kids — if that counts. And honestly, I’d probably just grab a fire extinguisher and try to put it out. This question is stressing me out!
13. What do you like to do when you need to take a break from your practice?
Walking and tennis — I love tennis. And talking, honestly. It’s without a doubt my favourite pastime.
14. How did you get involved in the Story Lens exhibition, which opens at Noho Galleries on 25 November?
A friend asked me to take part, and I was genuinely honoured. It came through one of the other contributors, someone I’d met on a project a few years ago — it felt like a full-circle moment.
15. Which piece of yours in the show took the longest to perfect and why?
The three pieces in the exhibition are part of a larger body of work that took a couple of years to create. It’s a film about humanity — our desire and need to communicate — and how the pinnacle of that communication is touch. It’s not just one image, but a full body of work that I’m really proud of.
Welcome to 15 Questions With…, a new interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unites those responsible for the art we love.
Sam Robinson is a British-Catalan photographer and filmmaker whose work centres on human connection, emotional clarity and the nuance of everyday experience. Working across still and moving images for over 25 years, Robinson’s practice is rooted in observation, seeking out gesture, intimacy, and genuine expression in both constructed and documentary environments. His approach reflects a sustained interest in collaboration and community, shaping imagery that feels lived-in, empathetic and deeply present.
Robinson’s achievements include an Honorary Doctorate for Contribution to the Arts from Nottingham Trent University, alongside major awards such as Portrait of Humanity, Portrait of Britain, the AOP Fashion & Beauty Award, Rangefinder Best Portrait Award, PDN One Life Photo Award, and the Independent Shorts Award for Best Director, among others.
His extensive commercial collaborations span global brands including Nike, Google, Apple, British Airways and Disney, and his work has been recognised internationally across photography and film festivals. Beyond his image-making, Robinson has founded several influential creative spaces — Good Things Happen Ltd., The Shop, Paper Mill Studios, Acorns, and Five Winds — each reflecting an ongoing commitment to supporting artistic production and the creative community. He works between his studios in Brooklyn and London, continuing to cultivate transatlantic creative networks and collaborative practice.
Later this month, from 24 - 28 November, his work will be exhibited at The Story Lens Talks: London, a group exhibition in Noho Galleries, featuring the work of 10 innovative photographers, organised by fellow photographer Lucia Domenici.
1. What is your earliest memory of a work of art?
Growing up in Barcelona, I was surrounded by art everywhere — it wasn’t confined to galleries, it was part of the streets and everyday life. The influence of Miró was especially strong; his shapes and colours were woven into the city itself, from murals on the pavements to the branding on local shops. Catalans are so proud of that artistic heritage — it really shaped how I see creativity today.
2. Where do you turn to when you're in need of inspiration?
I find the best thing is to disconnect — step away from screens, go for a walk, and just be present. When I travel, I make a point to stop and think rather than rush. So much of our lives is spent in constant stimulation, so I find real inspiration in moments of stillness — walking through places like Hampstead Heath or Prospect Park, depending on which city I am in, just taking it all in.
3. Is there an artistic skill you wish you were better at?
I’ve always wished I could draw — it’s probably why I started taking pictures instead. But if I had to choose something else, it would be the piano. There’ve been a few moments in my life where I’ve been with someone who can just sit down and play, and it feels so human and connected. I don’t need to sing or perform, but I’d love to be part of that impromptu moment — someone starts playing in a restaurant, and you just feel it.
4. Who is your favourite artist?
That’s a tough one — there are so many artists and photographers who’ve influenced my work. William Eggleston has had a huge impact on how I see colour and composition; I always feel inspired when I look at his images. I remember going to a Guy Bourdin exhibition at the Wapping Project in London, and it completely opened my eyes to how he used form and colour. But if I had to pick one, it would be Bridget Riley. I’d love to own one of her pieces — I could stare at it for hours and just get lost in it.
5. What's the biggest crime an artist can commit?
I think claiming to be unique is the biggest one. There’s such an obsession with originality, but I find that idea a bit offensive — it denies your family, your culture, and all the influences that shape you. The artists I admire most are those who are open about what inspires them and where their ideas come from. The belief that you exist in isolation, untouched by influence, feels like a betrayal of your own upbringing.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Fundació Joan Miró in Barcelona, both for its location and its collection. It gives such a clear sense of who Miró was and how deeply his work is woven into Catalan culture. But beyond that, I think everyone should make a point of visiting their local gallery or museum at least once a year. There’s always something new to see when you take the time to look.
7. What is the worst thing about the art world?
I’ve always felt like I skirt the edges of the art world rather than exist fully within it. The thing that frustrates me most is how narrowly art is defined. I’ve worked with people like Jamie Oliver — an incredible chef and entrepreneur — yet he wouldn’t be considered an artist, which feels absurd to me. The same goes for an inspiring teacher, an athlete, or a musician; anyone who hones their craft creatively is, in their own way, an artist. The idea that art only counts if it’s sold for a lot of money or hung on a gallery wall feels outdated. Creativity exists everywhere — we just don’t always call it art.
8. Whose opinions on art do you actually care about?
It’s a good question, because the reality is a bit contradictory. Even though I’m cynical about the boundaries of what’s considered art, being recognised as an artist is still an honour. But claiming that title for yourself doesn’t mean much to me. I value the opinions of people who simply look at my work and connect with it. I’m not too concerned with the label of “artist” — I care more about whether something resonates with someone than whether it fits the definition of art.
9. What trend in art makes you roll your eyes?
Trends in art are usually financially driven. NFTs are the perfect example — they were a joke until people started making money, and then suddenly everyone was doing it, until they weren’t. That cycle says it all. I think chasing trends misses the point entirely. You should just create and pursue the work itself, not the moment.
10. Who are the last three musical artists you listened to?
Lily Allen’s new album — it’s amazing. She’s brilliant at turning personal conflict into pure expression. I’ve also been listening to The Cinematic Orchestra; their sound feels like an ambient soundtrack to my life. Music plays a huge role in my work — I have a monthly on-set mix created by a DJ based in New York, so I’m constantly being introduced to new sounds.
11. What's your favourite colour and why?
Red, yellow, and blue. Red is my mum’s favourite colour, so it’s always felt personal to me. Together, those three colours feel very Catalan — bold, bright, and full of energy. I’ve always been drawn to strong, vivid tones, and the culture behind them makes me feel grounded and connected.
12. What three items would you grab if your house was burning down?
My wife and kids — if that counts. And honestly, I’d probably just grab a fire extinguisher and try to put it out. This question is stressing me out!
13. What do you like to do when you need to take a break from your practice?
Walking and tennis — I love tennis. And talking, honestly. It’s without a doubt my favourite pastime.
14. How did you get involved in the Story Lens exhibition, which opens at Noho Galleries on 25 November?
A friend asked me to take part, and I was genuinely honoured. It came through one of the other contributors, someone I’d met on a project a few years ago — it felt like a full-circle moment.
15. Which piece of yours in the show took the longest to perfect and why?
The three pieces in the exhibition are part of a larger body of work that took a couple of years to create. It’s a film about humanity — our desire and need to communicate — and how the pinnacle of that communication is touch. It’s not just one image, but a full body of work that I’m really proud of.
Welcome to 15 Questions With…, a new interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unites those responsible for the art we love.
Sam Robinson is a British-Catalan photographer and filmmaker whose work centres on human connection, emotional clarity and the nuance of everyday experience. Working across still and moving images for over 25 years, Robinson’s practice is rooted in observation, seeking out gesture, intimacy, and genuine expression in both constructed and documentary environments. His approach reflects a sustained interest in collaboration and community, shaping imagery that feels lived-in, empathetic and deeply present.
Robinson’s achievements include an Honorary Doctorate for Contribution to the Arts from Nottingham Trent University, alongside major awards such as Portrait of Humanity, Portrait of Britain, the AOP Fashion & Beauty Award, Rangefinder Best Portrait Award, PDN One Life Photo Award, and the Independent Shorts Award for Best Director, among others.
His extensive commercial collaborations span global brands including Nike, Google, Apple, British Airways and Disney, and his work has been recognised internationally across photography and film festivals. Beyond his image-making, Robinson has founded several influential creative spaces — Good Things Happen Ltd., The Shop, Paper Mill Studios, Acorns, and Five Winds — each reflecting an ongoing commitment to supporting artistic production and the creative community. He works between his studios in Brooklyn and London, continuing to cultivate transatlantic creative networks and collaborative practice.
Later this month, from 24 - 28 November, his work will be exhibited at The Story Lens Talks: London, a group exhibition in Noho Galleries, featuring the work of 10 innovative photographers, organised by fellow photographer Lucia Domenici.
1. What is your earliest memory of a work of art?
Growing up in Barcelona, I was surrounded by art everywhere — it wasn’t confined to galleries, it was part of the streets and everyday life. The influence of Miró was especially strong; his shapes and colours were woven into the city itself, from murals on the pavements to the branding on local shops. Catalans are so proud of that artistic heritage — it really shaped how I see creativity today.
2. Where do you turn to when you're in need of inspiration?
I find the best thing is to disconnect — step away from screens, go for a walk, and just be present. When I travel, I make a point to stop and think rather than rush. So much of our lives is spent in constant stimulation, so I find real inspiration in moments of stillness — walking through places like Hampstead Heath or Prospect Park, depending on which city I am in, just taking it all in.
3. Is there an artistic skill you wish you were better at?
I’ve always wished I could draw — it’s probably why I started taking pictures instead. But if I had to choose something else, it would be the piano. There’ve been a few moments in my life where I’ve been with someone who can just sit down and play, and it feels so human and connected. I don’t need to sing or perform, but I’d love to be part of that impromptu moment — someone starts playing in a restaurant, and you just feel it.
4. Who is your favourite artist?
That’s a tough one — there are so many artists and photographers who’ve influenced my work. William Eggleston has had a huge impact on how I see colour and composition; I always feel inspired when I look at his images. I remember going to a Guy Bourdin exhibition at the Wapping Project in London, and it completely opened my eyes to how he used form and colour. But if I had to pick one, it would be Bridget Riley. I’d love to own one of her pieces — I could stare at it for hours and just get lost in it.
5. What's the biggest crime an artist can commit?
I think claiming to be unique is the biggest one. There’s such an obsession with originality, but I find that idea a bit offensive — it denies your family, your culture, and all the influences that shape you. The artists I admire most are those who are open about what inspires them and where their ideas come from. The belief that you exist in isolation, untouched by influence, feels like a betrayal of your own upbringing.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Fundació Joan Miró in Barcelona, both for its location and its collection. It gives such a clear sense of who Miró was and how deeply his work is woven into Catalan culture. But beyond that, I think everyone should make a point of visiting their local gallery or museum at least once a year. There’s always something new to see when you take the time to look.
7. What is the worst thing about the art world?
I’ve always felt like I skirt the edges of the art world rather than exist fully within it. The thing that frustrates me most is how narrowly art is defined. I’ve worked with people like Jamie Oliver — an incredible chef and entrepreneur — yet he wouldn’t be considered an artist, which feels absurd to me. The same goes for an inspiring teacher, an athlete, or a musician; anyone who hones their craft creatively is, in their own way, an artist. The idea that art only counts if it’s sold for a lot of money or hung on a gallery wall feels outdated. Creativity exists everywhere — we just don’t always call it art.
8. Whose opinions on art do you actually care about?
It’s a good question, because the reality is a bit contradictory. Even though I’m cynical about the boundaries of what’s considered art, being recognised as an artist is still an honour. But claiming that title for yourself doesn’t mean much to me. I value the opinions of people who simply look at my work and connect with it. I’m not too concerned with the label of “artist” — I care more about whether something resonates with someone than whether it fits the definition of art.
9. What trend in art makes you roll your eyes?
Trends in art are usually financially driven. NFTs are the perfect example — they were a joke until people started making money, and then suddenly everyone was doing it, until they weren’t. That cycle says it all. I think chasing trends misses the point entirely. You should just create and pursue the work itself, not the moment.
10. Who are the last three musical artists you listened to?
Lily Allen’s new album — it’s amazing. She’s brilliant at turning personal conflict into pure expression. I’ve also been listening to The Cinematic Orchestra; their sound feels like an ambient soundtrack to my life. Music plays a huge role in my work — I have a monthly on-set mix created by a DJ based in New York, so I’m constantly being introduced to new sounds.
11. What's your favourite colour and why?
Red, yellow, and blue. Red is my mum’s favourite colour, so it’s always felt personal to me. Together, those three colours feel very Catalan — bold, bright, and full of energy. I’ve always been drawn to strong, vivid tones, and the culture behind them makes me feel grounded and connected.
12. What three items would you grab if your house was burning down?
My wife and kids — if that counts. And honestly, I’d probably just grab a fire extinguisher and try to put it out. This question is stressing me out!
13. What do you like to do when you need to take a break from your practice?
Walking and tennis — I love tennis. And talking, honestly. It’s without a doubt my favourite pastime.
14. How did you get involved in the Story Lens exhibition, which opens at Noho Galleries on 25 November?
A friend asked me to take part, and I was genuinely honoured. It came through one of the other contributors, someone I’d met on a project a few years ago — it felt like a full-circle moment.
15. Which piece of yours in the show took the longest to perfect and why?
The three pieces in the exhibition are part of a larger body of work that took a couple of years to create. It’s a film about humanity — our desire and need to communicate — and how the pinnacle of that communication is touch. It’s not just one image, but a full body of work that I’m really proud of.
Welcome to 15 Questions With…, a new interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unites those responsible for the art we love.
Sam Robinson is a British-Catalan photographer and filmmaker whose work centres on human connection, emotional clarity and the nuance of everyday experience. Working across still and moving images for over 25 years, Robinson’s practice is rooted in observation, seeking out gesture, intimacy, and genuine expression in both constructed and documentary environments. His approach reflects a sustained interest in collaboration and community, shaping imagery that feels lived-in, empathetic and deeply present.
Robinson’s achievements include an Honorary Doctorate for Contribution to the Arts from Nottingham Trent University, alongside major awards such as Portrait of Humanity, Portrait of Britain, the AOP Fashion & Beauty Award, Rangefinder Best Portrait Award, PDN One Life Photo Award, and the Independent Shorts Award for Best Director, among others.
His extensive commercial collaborations span global brands including Nike, Google, Apple, British Airways and Disney, and his work has been recognised internationally across photography and film festivals. Beyond his image-making, Robinson has founded several influential creative spaces — Good Things Happen Ltd., The Shop, Paper Mill Studios, Acorns, and Five Winds — each reflecting an ongoing commitment to supporting artistic production and the creative community. He works between his studios in Brooklyn and London, continuing to cultivate transatlantic creative networks and collaborative practice.
Later this month, from 24 - 28 November, his work will be exhibited at The Story Lens Talks: London, a group exhibition in Noho Galleries, featuring the work of 10 innovative photographers, organised by fellow photographer Lucia Domenici.
1. What is your earliest memory of a work of art?
Growing up in Barcelona, I was surrounded by art everywhere — it wasn’t confined to galleries, it was part of the streets and everyday life. The influence of Miró was especially strong; his shapes and colours were woven into the city itself, from murals on the pavements to the branding on local shops. Catalans are so proud of that artistic heritage — it really shaped how I see creativity today.
2. Where do you turn to when you're in need of inspiration?
I find the best thing is to disconnect — step away from screens, go for a walk, and just be present. When I travel, I make a point to stop and think rather than rush. So much of our lives is spent in constant stimulation, so I find real inspiration in moments of stillness — walking through places like Hampstead Heath or Prospect Park, depending on which city I am in, just taking it all in.
3. Is there an artistic skill you wish you were better at?
I’ve always wished I could draw — it’s probably why I started taking pictures instead. But if I had to choose something else, it would be the piano. There’ve been a few moments in my life where I’ve been with someone who can just sit down and play, and it feels so human and connected. I don’t need to sing or perform, but I’d love to be part of that impromptu moment — someone starts playing in a restaurant, and you just feel it.
4. Who is your favourite artist?
That’s a tough one — there are so many artists and photographers who’ve influenced my work. William Eggleston has had a huge impact on how I see colour and composition; I always feel inspired when I look at his images. I remember going to a Guy Bourdin exhibition at the Wapping Project in London, and it completely opened my eyes to how he used form and colour. But if I had to pick one, it would be Bridget Riley. I’d love to own one of her pieces — I could stare at it for hours and just get lost in it.
5. What's the biggest crime an artist can commit?
I think claiming to be unique is the biggest one. There’s such an obsession with originality, but I find that idea a bit offensive — it denies your family, your culture, and all the influences that shape you. The artists I admire most are those who are open about what inspires them and where their ideas come from. The belief that you exist in isolation, untouched by influence, feels like a betrayal of your own upbringing.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Fundació Joan Miró in Barcelona, both for its location and its collection. It gives such a clear sense of who Miró was and how deeply his work is woven into Catalan culture. But beyond that, I think everyone should make a point of visiting their local gallery or museum at least once a year. There’s always something new to see when you take the time to look.
7. What is the worst thing about the art world?
I’ve always felt like I skirt the edges of the art world rather than exist fully within it. The thing that frustrates me most is how narrowly art is defined. I’ve worked with people like Jamie Oliver — an incredible chef and entrepreneur — yet he wouldn’t be considered an artist, which feels absurd to me. The same goes for an inspiring teacher, an athlete, or a musician; anyone who hones their craft creatively is, in their own way, an artist. The idea that art only counts if it’s sold for a lot of money or hung on a gallery wall feels outdated. Creativity exists everywhere — we just don’t always call it art.
8. Whose opinions on art do you actually care about?
It’s a good question, because the reality is a bit contradictory. Even though I’m cynical about the boundaries of what’s considered art, being recognised as an artist is still an honour. But claiming that title for yourself doesn’t mean much to me. I value the opinions of people who simply look at my work and connect with it. I’m not too concerned with the label of “artist” — I care more about whether something resonates with someone than whether it fits the definition of art.
9. What trend in art makes you roll your eyes?
Trends in art are usually financially driven. NFTs are the perfect example — they were a joke until people started making money, and then suddenly everyone was doing it, until they weren’t. That cycle says it all. I think chasing trends misses the point entirely. You should just create and pursue the work itself, not the moment.
10. Who are the last three musical artists you listened to?
Lily Allen’s new album — it’s amazing. She’s brilliant at turning personal conflict into pure expression. I’ve also been listening to The Cinematic Orchestra; their sound feels like an ambient soundtrack to my life. Music plays a huge role in my work — I have a monthly on-set mix created by a DJ based in New York, so I’m constantly being introduced to new sounds.
11. What's your favourite colour and why?
Red, yellow, and blue. Red is my mum’s favourite colour, so it’s always felt personal to me. Together, those three colours feel very Catalan — bold, bright, and full of energy. I’ve always been drawn to strong, vivid tones, and the culture behind them makes me feel grounded and connected.
12. What three items would you grab if your house was burning down?
My wife and kids — if that counts. And honestly, I’d probably just grab a fire extinguisher and try to put it out. This question is stressing me out!
13. What do you like to do when you need to take a break from your practice?
Walking and tennis — I love tennis. And talking, honestly. It’s without a doubt my favourite pastime.
14. How did you get involved in the Story Lens exhibition, which opens at Noho Galleries on 25 November?
A friend asked me to take part, and I was genuinely honoured. It came through one of the other contributors, someone I’d met on a project a few years ago — it felt like a full-circle moment.
15. Which piece of yours in the show took the longest to perfect and why?
The three pieces in the exhibition are part of a larger body of work that took a couple of years to create. It’s a film about humanity — our desire and need to communicate — and how the pinnacle of that communication is touch. It’s not just one image, but a full body of work that I’m really proud of.
Welcome to 15 Questions With…, a new interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unites those responsible for the art we love.
Sam Robinson is a British-Catalan photographer and filmmaker whose work centres on human connection, emotional clarity and the nuance of everyday experience. Working across still and moving images for over 25 years, Robinson’s practice is rooted in observation, seeking out gesture, intimacy, and genuine expression in both constructed and documentary environments. His approach reflects a sustained interest in collaboration and community, shaping imagery that feels lived-in, empathetic and deeply present.
Robinson’s achievements include an Honorary Doctorate for Contribution to the Arts from Nottingham Trent University, alongside major awards such as Portrait of Humanity, Portrait of Britain, the AOP Fashion & Beauty Award, Rangefinder Best Portrait Award, PDN One Life Photo Award, and the Independent Shorts Award for Best Director, among others.
His extensive commercial collaborations span global brands including Nike, Google, Apple, British Airways and Disney, and his work has been recognised internationally across photography and film festivals. Beyond his image-making, Robinson has founded several influential creative spaces — Good Things Happen Ltd., The Shop, Paper Mill Studios, Acorns, and Five Winds — each reflecting an ongoing commitment to supporting artistic production and the creative community. He works between his studios in Brooklyn and London, continuing to cultivate transatlantic creative networks and collaborative practice.
Later this month, from 24 - 28 November, his work will be exhibited at The Story Lens Talks: London, a group exhibition in Noho Galleries, featuring the work of 10 innovative photographers, organised by fellow photographer Lucia Domenici.
1. What is your earliest memory of a work of art?
Growing up in Barcelona, I was surrounded by art everywhere — it wasn’t confined to galleries, it was part of the streets and everyday life. The influence of Miró was especially strong; his shapes and colours were woven into the city itself, from murals on the pavements to the branding on local shops. Catalans are so proud of that artistic heritage — it really shaped how I see creativity today.
2. Where do you turn to when you're in need of inspiration?
I find the best thing is to disconnect — step away from screens, go for a walk, and just be present. When I travel, I make a point to stop and think rather than rush. So much of our lives is spent in constant stimulation, so I find real inspiration in moments of stillness — walking through places like Hampstead Heath or Prospect Park, depending on which city I am in, just taking it all in.
3. Is there an artistic skill you wish you were better at?
I’ve always wished I could draw — it’s probably why I started taking pictures instead. But if I had to choose something else, it would be the piano. There’ve been a few moments in my life where I’ve been with someone who can just sit down and play, and it feels so human and connected. I don’t need to sing or perform, but I’d love to be part of that impromptu moment — someone starts playing in a restaurant, and you just feel it.
4. Who is your favourite artist?
That’s a tough one — there are so many artists and photographers who’ve influenced my work. William Eggleston has had a huge impact on how I see colour and composition; I always feel inspired when I look at his images. I remember going to a Guy Bourdin exhibition at the Wapping Project in London, and it completely opened my eyes to how he used form and colour. But if I had to pick one, it would be Bridget Riley. I’d love to own one of her pieces — I could stare at it for hours and just get lost in it.
5. What's the biggest crime an artist can commit?
I think claiming to be unique is the biggest one. There’s such an obsession with originality, but I find that idea a bit offensive — it denies your family, your culture, and all the influences that shape you. The artists I admire most are those who are open about what inspires them and where their ideas come from. The belief that you exist in isolation, untouched by influence, feels like a betrayal of your own upbringing.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Fundació Joan Miró in Barcelona, both for its location and its collection. It gives such a clear sense of who Miró was and how deeply his work is woven into Catalan culture. But beyond that, I think everyone should make a point of visiting their local gallery or museum at least once a year. There’s always something new to see when you take the time to look.
7. What is the worst thing about the art world?
I’ve always felt like I skirt the edges of the art world rather than exist fully within it. The thing that frustrates me most is how narrowly art is defined. I’ve worked with people like Jamie Oliver — an incredible chef and entrepreneur — yet he wouldn’t be considered an artist, which feels absurd to me. The same goes for an inspiring teacher, an athlete, or a musician; anyone who hones their craft creatively is, in their own way, an artist. The idea that art only counts if it’s sold for a lot of money or hung on a gallery wall feels outdated. Creativity exists everywhere — we just don’t always call it art.
8. Whose opinions on art do you actually care about?
It’s a good question, because the reality is a bit contradictory. Even though I’m cynical about the boundaries of what’s considered art, being recognised as an artist is still an honour. But claiming that title for yourself doesn’t mean much to me. I value the opinions of people who simply look at my work and connect with it. I’m not too concerned with the label of “artist” — I care more about whether something resonates with someone than whether it fits the definition of art.
9. What trend in art makes you roll your eyes?
Trends in art are usually financially driven. NFTs are the perfect example — they were a joke until people started making money, and then suddenly everyone was doing it, until they weren’t. That cycle says it all. I think chasing trends misses the point entirely. You should just create and pursue the work itself, not the moment.
10. Who are the last three musical artists you listened to?
Lily Allen’s new album — it’s amazing. She’s brilliant at turning personal conflict into pure expression. I’ve also been listening to The Cinematic Orchestra; their sound feels like an ambient soundtrack to my life. Music plays a huge role in my work — I have a monthly on-set mix created by a DJ based in New York, so I’m constantly being introduced to new sounds.
11. What's your favourite colour and why?
Red, yellow, and blue. Red is my mum’s favourite colour, so it’s always felt personal to me. Together, those three colours feel very Catalan — bold, bright, and full of energy. I’ve always been drawn to strong, vivid tones, and the culture behind them makes me feel grounded and connected.
12. What three items would you grab if your house was burning down?
My wife and kids — if that counts. And honestly, I’d probably just grab a fire extinguisher and try to put it out. This question is stressing me out!
13. What do you like to do when you need to take a break from your practice?
Walking and tennis — I love tennis. And talking, honestly. It’s without a doubt my favourite pastime.
14. How did you get involved in the Story Lens exhibition, which opens at Noho Galleries on 25 November?
A friend asked me to take part, and I was genuinely honoured. It came through one of the other contributors, someone I’d met on a project a few years ago — it felt like a full-circle moment.
15. Which piece of yours in the show took the longest to perfect and why?
The three pieces in the exhibition are part of a larger body of work that took a couple of years to create. It’s a film about humanity — our desire and need to communicate — and how the pinnacle of that communication is touch. It’s not just one image, but a full body of work that I’m really proud of.
Welcome to 15 Questions With…, a new interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unites those responsible for the art we love.
Sam Robinson is a British-Catalan photographer and filmmaker whose work centres on human connection, emotional clarity and the nuance of everyday experience. Working across still and moving images for over 25 years, Robinson’s practice is rooted in observation, seeking out gesture, intimacy, and genuine expression in both constructed and documentary environments. His approach reflects a sustained interest in collaboration and community, shaping imagery that feels lived-in, empathetic and deeply present.
Robinson’s achievements include an Honorary Doctorate for Contribution to the Arts from Nottingham Trent University, alongside major awards such as Portrait of Humanity, Portrait of Britain, the AOP Fashion & Beauty Award, Rangefinder Best Portrait Award, PDN One Life Photo Award, and the Independent Shorts Award for Best Director, among others.
His extensive commercial collaborations span global brands including Nike, Google, Apple, British Airways and Disney, and his work has been recognised internationally across photography and film festivals. Beyond his image-making, Robinson has founded several influential creative spaces — Good Things Happen Ltd., The Shop, Paper Mill Studios, Acorns, and Five Winds — each reflecting an ongoing commitment to supporting artistic production and the creative community. He works between his studios in Brooklyn and London, continuing to cultivate transatlantic creative networks and collaborative practice.
Later this month, from 24 - 28 November, his work will be exhibited at The Story Lens Talks: London, a group exhibition in Noho Galleries, featuring the work of 10 innovative photographers, organised by fellow photographer Lucia Domenici.
1. What is your earliest memory of a work of art?
Growing up in Barcelona, I was surrounded by art everywhere — it wasn’t confined to galleries, it was part of the streets and everyday life. The influence of Miró was especially strong; his shapes and colours were woven into the city itself, from murals on the pavements to the branding on local shops. Catalans are so proud of that artistic heritage — it really shaped how I see creativity today.
2. Where do you turn to when you're in need of inspiration?
I find the best thing is to disconnect — step away from screens, go for a walk, and just be present. When I travel, I make a point to stop and think rather than rush. So much of our lives is spent in constant stimulation, so I find real inspiration in moments of stillness — walking through places like Hampstead Heath or Prospect Park, depending on which city I am in, just taking it all in.
3. Is there an artistic skill you wish you were better at?
I’ve always wished I could draw — it’s probably why I started taking pictures instead. But if I had to choose something else, it would be the piano. There’ve been a few moments in my life where I’ve been with someone who can just sit down and play, and it feels so human and connected. I don’t need to sing or perform, but I’d love to be part of that impromptu moment — someone starts playing in a restaurant, and you just feel it.
4. Who is your favourite artist?
That’s a tough one — there are so many artists and photographers who’ve influenced my work. William Eggleston has had a huge impact on how I see colour and composition; I always feel inspired when I look at his images. I remember going to a Guy Bourdin exhibition at the Wapping Project in London, and it completely opened my eyes to how he used form and colour. But if I had to pick one, it would be Bridget Riley. I’d love to own one of her pieces — I could stare at it for hours and just get lost in it.
5. What's the biggest crime an artist can commit?
I think claiming to be unique is the biggest one. There’s such an obsession with originality, but I find that idea a bit offensive — it denies your family, your culture, and all the influences that shape you. The artists I admire most are those who are open about what inspires them and where their ideas come from. The belief that you exist in isolation, untouched by influence, feels like a betrayal of your own upbringing.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Fundació Joan Miró in Barcelona, both for its location and its collection. It gives such a clear sense of who Miró was and how deeply his work is woven into Catalan culture. But beyond that, I think everyone should make a point of visiting their local gallery or museum at least once a year. There’s always something new to see when you take the time to look.
7. What is the worst thing about the art world?
I’ve always felt like I skirt the edges of the art world rather than exist fully within it. The thing that frustrates me most is how narrowly art is defined. I’ve worked with people like Jamie Oliver — an incredible chef and entrepreneur — yet he wouldn’t be considered an artist, which feels absurd to me. The same goes for an inspiring teacher, an athlete, or a musician; anyone who hones their craft creatively is, in their own way, an artist. The idea that art only counts if it’s sold for a lot of money or hung on a gallery wall feels outdated. Creativity exists everywhere — we just don’t always call it art.
8. Whose opinions on art do you actually care about?
It’s a good question, because the reality is a bit contradictory. Even though I’m cynical about the boundaries of what’s considered art, being recognised as an artist is still an honour. But claiming that title for yourself doesn’t mean much to me. I value the opinions of people who simply look at my work and connect with it. I’m not too concerned with the label of “artist” — I care more about whether something resonates with someone than whether it fits the definition of art.
9. What trend in art makes you roll your eyes?
Trends in art are usually financially driven. NFTs are the perfect example — they were a joke until people started making money, and then suddenly everyone was doing it, until they weren’t. That cycle says it all. I think chasing trends misses the point entirely. You should just create and pursue the work itself, not the moment.
10. Who are the last three musical artists you listened to?
Lily Allen’s new album — it’s amazing. She’s brilliant at turning personal conflict into pure expression. I’ve also been listening to The Cinematic Orchestra; their sound feels like an ambient soundtrack to my life. Music plays a huge role in my work — I have a monthly on-set mix created by a DJ based in New York, so I’m constantly being introduced to new sounds.
11. What's your favourite colour and why?
Red, yellow, and blue. Red is my mum’s favourite colour, so it’s always felt personal to me. Together, those three colours feel very Catalan — bold, bright, and full of energy. I’ve always been drawn to strong, vivid tones, and the culture behind them makes me feel grounded and connected.
12. What three items would you grab if your house was burning down?
My wife and kids — if that counts. And honestly, I’d probably just grab a fire extinguisher and try to put it out. This question is stressing me out!
13. What do you like to do when you need to take a break from your practice?
Walking and tennis — I love tennis. And talking, honestly. It’s without a doubt my favourite pastime.
14. How did you get involved in the Story Lens exhibition, which opens at Noho Galleries on 25 November?
A friend asked me to take part, and I was genuinely honoured. It came through one of the other contributors, someone I’d met on a project a few years ago — it felt like a full-circle moment.
15. Which piece of yours in the show took the longest to perfect and why?
The three pieces in the exhibition are part of a larger body of work that took a couple of years to create. It’s a film about humanity — our desire and need to communicate — and how the pinnacle of that communication is touch. It’s not just one image, but a full body of work that I’m really proud of.
Welcome to 15 Questions With…, a new interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unites those responsible for the art we love.
Sam Robinson is a British-Catalan photographer and filmmaker whose work centres on human connection, emotional clarity and the nuance of everyday experience. Working across still and moving images for over 25 years, Robinson’s practice is rooted in observation, seeking out gesture, intimacy, and genuine expression in both constructed and documentary environments. His approach reflects a sustained interest in collaboration and community, shaping imagery that feels lived-in, empathetic and deeply present.
Robinson’s achievements include an Honorary Doctorate for Contribution to the Arts from Nottingham Trent University, alongside major awards such as Portrait of Humanity, Portrait of Britain, the AOP Fashion & Beauty Award, Rangefinder Best Portrait Award, PDN One Life Photo Award, and the Independent Shorts Award for Best Director, among others.
His extensive commercial collaborations span global brands including Nike, Google, Apple, British Airways and Disney, and his work has been recognised internationally across photography and film festivals. Beyond his image-making, Robinson has founded several influential creative spaces — Good Things Happen Ltd., The Shop, Paper Mill Studios, Acorns, and Five Winds — each reflecting an ongoing commitment to supporting artistic production and the creative community. He works between his studios in Brooklyn and London, continuing to cultivate transatlantic creative networks and collaborative practice.
Later this month, from 24 - 28 November, his work will be exhibited at The Story Lens Talks: London, a group exhibition in Noho Galleries, featuring the work of 10 innovative photographers, organised by fellow photographer Lucia Domenici.
1. What is your earliest memory of a work of art?
Growing up in Barcelona, I was surrounded by art everywhere — it wasn’t confined to galleries, it was part of the streets and everyday life. The influence of Miró was especially strong; his shapes and colours were woven into the city itself, from murals on the pavements to the branding on local shops. Catalans are so proud of that artistic heritage — it really shaped how I see creativity today.
2. Where do you turn to when you're in need of inspiration?
I find the best thing is to disconnect — step away from screens, go for a walk, and just be present. When I travel, I make a point to stop and think rather than rush. So much of our lives is spent in constant stimulation, so I find real inspiration in moments of stillness — walking through places like Hampstead Heath or Prospect Park, depending on which city I am in, just taking it all in.
3. Is there an artistic skill you wish you were better at?
I’ve always wished I could draw — it’s probably why I started taking pictures instead. But if I had to choose something else, it would be the piano. There’ve been a few moments in my life where I’ve been with someone who can just sit down and play, and it feels so human and connected. I don’t need to sing or perform, but I’d love to be part of that impromptu moment — someone starts playing in a restaurant, and you just feel it.
4. Who is your favourite artist?
That’s a tough one — there are so many artists and photographers who’ve influenced my work. William Eggleston has had a huge impact on how I see colour and composition; I always feel inspired when I look at his images. I remember going to a Guy Bourdin exhibition at the Wapping Project in London, and it completely opened my eyes to how he used form and colour. But if I had to pick one, it would be Bridget Riley. I’d love to own one of her pieces — I could stare at it for hours and just get lost in it.
5. What's the biggest crime an artist can commit?
I think claiming to be unique is the biggest one. There’s such an obsession with originality, but I find that idea a bit offensive — it denies your family, your culture, and all the influences that shape you. The artists I admire most are those who are open about what inspires them and where their ideas come from. The belief that you exist in isolation, untouched by influence, feels like a betrayal of your own upbringing.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Fundació Joan Miró in Barcelona, both for its location and its collection. It gives such a clear sense of who Miró was and how deeply his work is woven into Catalan culture. But beyond that, I think everyone should make a point of visiting their local gallery or museum at least once a year. There’s always something new to see when you take the time to look.
7. What is the worst thing about the art world?
I’ve always felt like I skirt the edges of the art world rather than exist fully within it. The thing that frustrates me most is how narrowly art is defined. I’ve worked with people like Jamie Oliver — an incredible chef and entrepreneur — yet he wouldn’t be considered an artist, which feels absurd to me. The same goes for an inspiring teacher, an athlete, or a musician; anyone who hones their craft creatively is, in their own way, an artist. The idea that art only counts if it’s sold for a lot of money or hung on a gallery wall feels outdated. Creativity exists everywhere — we just don’t always call it art.
8. Whose opinions on art do you actually care about?
It’s a good question, because the reality is a bit contradictory. Even though I’m cynical about the boundaries of what’s considered art, being recognised as an artist is still an honour. But claiming that title for yourself doesn’t mean much to me. I value the opinions of people who simply look at my work and connect with it. I’m not too concerned with the label of “artist” — I care more about whether something resonates with someone than whether it fits the definition of art.
9. What trend in art makes you roll your eyes?
Trends in art are usually financially driven. NFTs are the perfect example — they were a joke until people started making money, and then suddenly everyone was doing it, until they weren’t. That cycle says it all. I think chasing trends misses the point entirely. You should just create and pursue the work itself, not the moment.
10. Who are the last three musical artists you listened to?
Lily Allen’s new album — it’s amazing. She’s brilliant at turning personal conflict into pure expression. I’ve also been listening to The Cinematic Orchestra; their sound feels like an ambient soundtrack to my life. Music plays a huge role in my work — I have a monthly on-set mix created by a DJ based in New York, so I’m constantly being introduced to new sounds.
11. What's your favourite colour and why?
Red, yellow, and blue. Red is my mum’s favourite colour, so it’s always felt personal to me. Together, those three colours feel very Catalan — bold, bright, and full of energy. I’ve always been drawn to strong, vivid tones, and the culture behind them makes me feel grounded and connected.
12. What three items would you grab if your house was burning down?
My wife and kids — if that counts. And honestly, I’d probably just grab a fire extinguisher and try to put it out. This question is stressing me out!
13. What do you like to do when you need to take a break from your practice?
Walking and tennis — I love tennis. And talking, honestly. It’s without a doubt my favourite pastime.
14. How did you get involved in the Story Lens exhibition, which opens at Noho Galleries on 25 November?
A friend asked me to take part, and I was genuinely honoured. It came through one of the other contributors, someone I’d met on a project a few years ago — it felt like a full-circle moment.
15. Which piece of yours in the show took the longest to perfect and why?
The three pieces in the exhibition are part of a larger body of work that took a couple of years to create. It’s a film about humanity — our desire and need to communicate — and how the pinnacle of that communication is touch. It’s not just one image, but a full body of work that I’m really proud of.
Welcome to 15 Questions With…, a new interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unites those responsible for the art we love.
Sam Robinson is a British-Catalan photographer and filmmaker whose work centres on human connection, emotional clarity and the nuance of everyday experience. Working across still and moving images for over 25 years, Robinson’s practice is rooted in observation, seeking out gesture, intimacy, and genuine expression in both constructed and documentary environments. His approach reflects a sustained interest in collaboration and community, shaping imagery that feels lived-in, empathetic and deeply present.
Robinson’s achievements include an Honorary Doctorate for Contribution to the Arts from Nottingham Trent University, alongside major awards such as Portrait of Humanity, Portrait of Britain, the AOP Fashion & Beauty Award, Rangefinder Best Portrait Award, PDN One Life Photo Award, and the Independent Shorts Award for Best Director, among others.
His extensive commercial collaborations span global brands including Nike, Google, Apple, British Airways and Disney, and his work has been recognised internationally across photography and film festivals. Beyond his image-making, Robinson has founded several influential creative spaces — Good Things Happen Ltd., The Shop, Paper Mill Studios, Acorns, and Five Winds — each reflecting an ongoing commitment to supporting artistic production and the creative community. He works between his studios in Brooklyn and London, continuing to cultivate transatlantic creative networks and collaborative practice.
Later this month, from 24 - 28 November, his work will be exhibited at The Story Lens Talks: London, a group exhibition in Noho Galleries, featuring the work of 10 innovative photographers, organised by fellow photographer Lucia Domenici.
1. What is your earliest memory of a work of art?
Growing up in Barcelona, I was surrounded by art everywhere — it wasn’t confined to galleries, it was part of the streets and everyday life. The influence of Miró was especially strong; his shapes and colours were woven into the city itself, from murals on the pavements to the branding on local shops. Catalans are so proud of that artistic heritage — it really shaped how I see creativity today.
2. Where do you turn to when you're in need of inspiration?
I find the best thing is to disconnect — step away from screens, go for a walk, and just be present. When I travel, I make a point to stop and think rather than rush. So much of our lives is spent in constant stimulation, so I find real inspiration in moments of stillness — walking through places like Hampstead Heath or Prospect Park, depending on which city I am in, just taking it all in.
3. Is there an artistic skill you wish you were better at?
I’ve always wished I could draw — it’s probably why I started taking pictures instead. But if I had to choose something else, it would be the piano. There’ve been a few moments in my life where I’ve been with someone who can just sit down and play, and it feels so human and connected. I don’t need to sing or perform, but I’d love to be part of that impromptu moment — someone starts playing in a restaurant, and you just feel it.
4. Who is your favourite artist?
That’s a tough one — there are so many artists and photographers who’ve influenced my work. William Eggleston has had a huge impact on how I see colour and composition; I always feel inspired when I look at his images. I remember going to a Guy Bourdin exhibition at the Wapping Project in London, and it completely opened my eyes to how he used form and colour. But if I had to pick one, it would be Bridget Riley. I’d love to own one of her pieces — I could stare at it for hours and just get lost in it.
5. What's the biggest crime an artist can commit?
I think claiming to be unique is the biggest one. There’s such an obsession with originality, but I find that idea a bit offensive — it denies your family, your culture, and all the influences that shape you. The artists I admire most are those who are open about what inspires them and where their ideas come from. The belief that you exist in isolation, untouched by influence, feels like a betrayal of your own upbringing.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Fundació Joan Miró in Barcelona, both for its location and its collection. It gives such a clear sense of who Miró was and how deeply his work is woven into Catalan culture. But beyond that, I think everyone should make a point of visiting their local gallery or museum at least once a year. There’s always something new to see when you take the time to look.
7. What is the worst thing about the art world?
I’ve always felt like I skirt the edges of the art world rather than exist fully within it. The thing that frustrates me most is how narrowly art is defined. I’ve worked with people like Jamie Oliver — an incredible chef and entrepreneur — yet he wouldn’t be considered an artist, which feels absurd to me. The same goes for an inspiring teacher, an athlete, or a musician; anyone who hones their craft creatively is, in their own way, an artist. The idea that art only counts if it’s sold for a lot of money or hung on a gallery wall feels outdated. Creativity exists everywhere — we just don’t always call it art.
8. Whose opinions on art do you actually care about?
It’s a good question, because the reality is a bit contradictory. Even though I’m cynical about the boundaries of what’s considered art, being recognised as an artist is still an honour. But claiming that title for yourself doesn’t mean much to me. I value the opinions of people who simply look at my work and connect with it. I’m not too concerned with the label of “artist” — I care more about whether something resonates with someone than whether it fits the definition of art.
9. What trend in art makes you roll your eyes?
Trends in art are usually financially driven. NFTs are the perfect example — they were a joke until people started making money, and then suddenly everyone was doing it, until they weren’t. That cycle says it all. I think chasing trends misses the point entirely. You should just create and pursue the work itself, not the moment.
10. Who are the last three musical artists you listened to?
Lily Allen’s new album — it’s amazing. She’s brilliant at turning personal conflict into pure expression. I’ve also been listening to The Cinematic Orchestra; their sound feels like an ambient soundtrack to my life. Music plays a huge role in my work — I have a monthly on-set mix created by a DJ based in New York, so I’m constantly being introduced to new sounds.
11. What's your favourite colour and why?
Red, yellow, and blue. Red is my mum’s favourite colour, so it’s always felt personal to me. Together, those three colours feel very Catalan — bold, bright, and full of energy. I’ve always been drawn to strong, vivid tones, and the culture behind them makes me feel grounded and connected.
12. What three items would you grab if your house was burning down?
My wife and kids — if that counts. And honestly, I’d probably just grab a fire extinguisher and try to put it out. This question is stressing me out!
13. What do you like to do when you need to take a break from your practice?
Walking and tennis — I love tennis. And talking, honestly. It’s without a doubt my favourite pastime.
14. How did you get involved in the Story Lens exhibition, which opens at Noho Galleries on 25 November?
A friend asked me to take part, and I was genuinely honoured. It came through one of the other contributors, someone I’d met on a project a few years ago — it felt like a full-circle moment.
15. Which piece of yours in the show took the longest to perfect and why?
The three pieces in the exhibition are part of a larger body of work that took a couple of years to create. It’s a film about humanity — our desire and need to communicate — and how the pinnacle of that communication is touch. It’s not just one image, but a full body of work that I’m really proud of.
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