Virtual Memories Show 361:
Dmitry Samarov
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“I’ve been very fortunate to have an undying inner need to keep expressing myself, in the face of fairly universal indifference. It just doesn’t discourage me; it might be some sort of insanity.”
With his new memoir, Soviet Stamps, artist & writer Dmitry Samarov explores his experience of emigrating from the USSR as a child, finding his way through late-’70s and ’80s America, and becoming an artist. We talk about the book’s winding path to self-publication, how his story does and doesn’t fit in to the history of Soviet Jewry, how he overcame the embarrassment of including his adolescent art in the book, his 4th grade autobiography and how it managed to predict much of his career, and the possible Dmitry-lives that could have resulted from decisions that were out of his hands. We also get into his notion that art requires disengagement, his gauge for the life and death of artworks, the value of the apprentice system over art school, why he’s writing fiction for his next book, and which self-promotional event he hates more: the book reading or the gallery opening. (Oh, and check out our previous conversations: 2014, 2015, and 2018) Give it a listen! And go buy Soviet Stamps!
“It’s mind-blowing to me to think about the chances my parents took, the leap they took into the unknown, and everything they had to give up.”
“I think I’m better at walking away from paintings than I used to be.”
“You can’t really see inside another person no matter how well you know them, and you can’t see what you’re looking at if you’re in the middle of it.”
Enjoy the conversation! Then check out the archives for more great episodes!
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About our Guest
Dmitry Samarov paints and writes in Chicago, Illinois. He’s the author of four published books: Hack, and Where To?, both illustrated memoirs of his taxi-driving days, Music To My Eyes, and Soviet Stamps. You should sign up for his weekly e-mail and listen to his occasional Blather podcast.
Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded at the Society of Illustrators on a pair of Blue enCORE 200 Microphones
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