Latest / BREAK/FIX the Motorsports & Vehicle Enthusiast Variety Show / Painting Speed: Samantha Zimmermann’s Journey into Hyperrealism

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Painting Speed: Samantha Zimmermann’s Journey into Hyperrealism · BREAK/FIX the Motorsports & Vehicle Enthusiast Variety Show

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BreakFix podcast is all about capturing the living history of people from
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all over the autosphere, from wrench turners and racers to artists, authors,
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designers, and everything in between.
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Our goal is to inspire a new generation of petrolheads that wonder.
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How did they get that job or become that person?
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The road to success is paved by all of us, because everyone has a story.
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Like most enthusiasts, her love for cars and motorsports began at a young age.
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Formula One was a must on Sunday mornings.
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Raised in a family of NASA and Lockheed Martin engineers and technical
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drawers, our guest's interest in the technicalities and precise nature
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of mechanical ingenuity came easily.
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Her childhood sweetheart, Michael, took her to her first 24 hours of Daytona
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in 2012, and her passion for all things motorsports has only continued
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to flourish from then through today.
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Samantha Zimmerman is a fine artist specializing in realism with the
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breadth of her work consisting of automotive and motorsport subjects.
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She joins us tonight from her home studio in San Antonio, Florida to tell us about
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how she blended her passion for art and motorsports into a blossoming career.
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So welcome to Brake Fix, Samantha.
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Thanks so much for having me on, Eric.
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I'm so excited to be able to sit here and chat with you guys this evening.
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Well, like all good Brake Fix stories, everybody has a superhero origin.
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So tell us about growing up in a house full of engineers.
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From the sounds of it, you came up through a family of automotive enthusiasts.
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So what sorts of vehicles did you grow up around and what really got your attention?
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Funny enough, my Grandmother and my grandfather were really big into PCA.
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They had a 914 back in the day.
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My grandma also had a 944.
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They used to take them around the country and do concours and all
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the PCA events and all that jazz.
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And she has a few stories from where they'd Placed really
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well at some national events.
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On the other hand, my dad was a lot more into the, uh, JDM scene
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and things along those lines.
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Like he had a Honda Prelude growing up with me and my mom had a Civic.
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So clearly I tended to, uh, teeter to one side of the spectrum versus the
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other, the Porsche side of things.
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And that's where I continue to stick.
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So what made you go into art and painting, unlike following in
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the footsteps of your family and engineering and science and all that?
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From a very young age, at least, I've always been told that I
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was always really into art.
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Growing up with a bunch of technical drawers, obviously that passion
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for all things super precise and mechanical came with the territory.
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I always really liked to draw.
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I always really liked to paint.
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It wasn't always cars, but it's just Something that I picked up
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and I couldn't get away from.
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You said it wasn't always cars.
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What were some of your first creations?
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What brought you through the gateway into artistry?
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Uh, horses.
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And I have a funny story about that too.
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I grew up being an equestrian, so horseback rider.
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How Michael and I met was that he used to say horses were stupid.
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I would be like, no, they're not.
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And I chased him around on the playground in second grade.
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Then as a consolation prize, he would steal his mom's jewelry
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and bring it to me the next day.
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Which she would be fond of, clearly, but it started with extra naturally
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aspirated horsepower, if you will.
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And I saw one of your pieces that's out on findartinamerica.
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com site for people who are interested in learning more and
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seeing some of your other pieces.
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The one Sly Eve Cavall, if I pronounced that correctly, it's got
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three horses, it was a watercolor that you commissioned for somebody.
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That is gorgeous painting.
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Thank you.
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Two more, uh, horsey paintings that I've done.
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within the last few years, but I would say for the majority now, it's typically
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just portraits and car stuff, but I still like to do my horses every so often.
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I mean, on the flip side of that, she's got BBS basket weave wheels
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too, so she'd have my attention.
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You can't go wrong with BBSs.
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They make everything look amazing.
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We had a pair of E 80 eights for our 9 64 and they were so beautiful.
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. You graduated from the University of South Florida, and so can you
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let some of our listeners know who may not be artists themselves?
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What does that progression look like when you go to university for art?
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What are some of the classes you're taking?
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How did you get trained?
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What did that look like?
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I got into USF.
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based off of artistic merit.
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So they brought me in with a small scholarship into their art program.
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Now USF's art program specifically is a lot more modern, if you
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will, and conceptual in class versus being so illustrative.
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I didn't even major in painting when I went to USF.
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I was the printmaker, because my printmaking professor was so appreciative
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of my skills as an illustrator, as opposed to my painting professors,
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who were like, just smear some paint around on the canvas and call it a day.
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Generally speaking though, when you're going to university for art,
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you learn a lot of things along the lines of composition, color theory.
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Those are your two building blocks and then overall technical skills.
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So how you end up using the medium to get the result that you want.
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Probably some of my favorite classes that I did take though,
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were art history, Renaissance art history was Baroque and Rococo.
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And then I did one on medieval art history, which was all.
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Mostly like medieval manuscripts and stuff like that.
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It was pretty cool though.
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On the other hand, I was also a double major Biomedical Sciences and Fine Art.
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That's quite the combination.
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Oddly enough, yes.
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I had one path as opposed to the other, but I did really enjoy anatomy
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when I was in that class as well.
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Taking anatomy classes is actually pretty helpful if you're an artist
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who's doing human pictures or portraits or paintings, right?
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Absolutely.
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I think it's funny.
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I see a lot of other artists and automotive artists, and it's usually
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one way or the other not to rag on anybody, but it's usually artists who
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can do people really well in organic shapes, or it's people who can do cars
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really well and more geometric shapes.
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It's hard to find someone who can do a combination of both because they're
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So you just naturally had that ability to do that, or you've just practiced
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really hard because if anyone has never tried to draw a car, and I have, I'm
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not on your level of artistry, but a little bit of cartooning here and there
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is my area, but cars are very hard.
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Trying to be realistic with a car.
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If you don't have that perspective, right.
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And the proportions, right.
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You know, it's one thing you're drawing a house and one window is slightly
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bigger than the other or the height of the house, but if you have the heights
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and the proportions of the windshield to the headlights and all that wrong, I
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mean, it just goes horrible really fast.
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I have some of my very first works that I've done.
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Just as a reminder to show myself where I've come from because my first piece of
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a car that I did minus the BBS that I have on Fine Art America, I did a 993 in green.
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Oh, honey, it's rough.
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Like we've come a long way.
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We're doing really good now but it's taken a lot of practice for sure to get
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to the point that I'm at and it's taken a lot of experimenting and switching
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from oils to pencil to acrylic and then oils I found is my happy place for sure.
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A lot of practice and dedication to be able to just continue
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progressing like anything.
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They say it takes a thousand hours to master a skill.
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I mean, I'm sure I've put that in by now, but it's definitely gotten to the point
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where I feel like I'm proficient at least.
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It's funny.
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I had these dreams when I was a kid of being an automotive designer.
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And you know, the first step in that is where you got to be able to draw.
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And to Tanya's point, a complex three dimensional object, like a car
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on a two dimensional plane, a piece of paper is extremely complicated.
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Now behind you is the low and brown nine 62 behind me as
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a model of the Momo nine 35.
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When you're looking at them in profile.
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I think I could do that, but it's when you suddenly take them into
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perspective that you're right.
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All those proportions go completely nuts.
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And that's something I could never wrap my head around.
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So I turned and I said, you know what?
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I'm going to do photography instead because I appreciate the aesthetic,
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but I can't translate in my brain to the paper or to the canvas.
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What it is I want to design.
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That's okay.
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And I appreciate the hell out of all of the photographers and motorsports
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and automotive photographers out there.
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I mean, without them, I wouldn't be able to do the work that I do.
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Anytime that I find a photo, I always ask the photographer ahead
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of time, Hey, is it cool if I use this picture for a reference?
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I'll send you a print as a thank you and give you all the credit.
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For the original photo, and that's a great segue into how do you go from
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pen and ink to oils and acrylics to this new style that you see coming up?
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And there's tons of other artists out there, pinstripe, Chris and others and
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yourself that are in the photo realistic.
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Artistry, how do you take it to that level?
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I mean, I see some of these making of videos and I'm blown away.
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I'm fascinated by the techniques, but how do you get it to look like it was
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a photograph, but it's really oils.
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Stylistically speaking.
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I think there's some differentiations between each artist.
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So Manu, who I've met personally down at DRT in Miami.
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Awesome guy.
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Absolute sweetheart.
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If you look at his work from about 10 feet away, it looks very photorealistic,
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but when you get close to it, it's a little bit, I don't want to say pop
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arty, but he's very deliberate in his brushstrokes to where it's very bold
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to get those bold highlights, but he also does some nice gradients on top
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of that or underneath of that as well.
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Penstripe Chris's work, same thing.
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He's a little bit More messy, I would say, but his work still
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comes off as being very realistic.
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Both amazing artists.
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I love both of their work.
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When you're looking at doing something that looks like a photograph, you
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really have to look at shapes.
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You really have to look at what separates the foreground from the background.
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So with most of my work, I do a soft focused or bokeh background.
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So it looks blurry.
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When you do that in conjunction with something that's super in
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focus in the foreground, it helps aid to that really hyper realistic
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effect that you're looking for.
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So when you're looking at a car, you're not seeing an outline in the photo.
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It's not like someone's taking a pen and drawing an outline on it.
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What are the colors that separate it?
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That's the most important thing.
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How does the light separate it?
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Second most important thing.
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It's really translating what your eye sees onto the canvas or paper, so to speak.
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So I look at things in all light, color, and shadow.
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So are you building up in blocks or in stages or in layers, I guess?
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Or are you just developing it all in one shot?
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So generally speaking, what I'll do is I'll do the entire background first.
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That way I can paint on top of the background, what the main focus is.
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For instance, I have Bob Doyle's Molnar Motorsports LMP3
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car that I'm doing right now.
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So I'm doing all the background at Daytona currently, and then I'll go
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back in and I'll paint his car on top.
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So does the sketch of the car live underneath the background?
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So it's always there as a reference, or do you just build on top of?
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I'll leave a cutout of the drawing of the car basically.
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I might brush over the edges just a little bit.
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I always have that there as my reference so I know where I'm going in
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the future when I get to that point.
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These photorealistic paintings that you're creating are obviously super
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complicated, and I cannot fathom, you know, how many hours it takes to put
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one of these together, but I think our audience probably wants to know.
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I mean, obviously we see the time lapse things on the internet and seems like you
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can get it all done in 20 minutes, right?
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But that's not the case.
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What does it take to put something like that together?
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So typically I average about a hundred hours of painting
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time into each piece I do.
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The painting behind me, the Lowenbrau 962, took me 220 hours to paint.
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I love what I do.
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It was definitely a labor of love.
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The most recent painting I produced, the 48 GT3 at Daytona with the grandstands
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in the background, I don't even know how many hours it took me because
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that one was a bit of experimenting.
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Doing those seats, the background alone probably Took me at least 115, 120 hours.
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It was a lot of work, but I do put a lot of love into my pieces.
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Generally speaking, you could bet on me putting around 115, 120 hours into it.
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Just a normal commission.
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So you probably walk away from it, come back, work on something else.
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You're not just devoting 120 hours to that one piece, and then you do
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the next piece, and the next piece.
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It depends.
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If I am working on a personal piece, I will do that.
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I'll sit down, and I'll put some time into it, and I'll set it aside.
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If it's a commission, I'll usually put down whatever I'm working on, and
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I'll devote all of my time to that piece until it's complete, and then
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move on to the next one, or go back to the piece I was working on previously.
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Are there any other future stages of car artwork?
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So you're in the very realistic, photorealistic phase right now.
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Do you have any desires to do something different in the future?
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There's definitely stuff I want to dabble into.
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So, I work in this super hyper realistic style with my
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portraits and with my car stuff.
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And I also do this slightly more illustrative style that
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almost looks like a comic book.
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I have a piece that I did of the Martini Livery 935, or Moby Dick
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as it's more commonly known.
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That's a bit more like a comic book style with like pen and ink and
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watercolor mixed into each other.
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There's part of me that also wants to dabble in getting, I won't say
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messier, but a little bit more abstract with it, but it's extremely
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hard for me to break it down.
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Like, my brain does not work that way.
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How Manu does it, how Chris does it, I could never do it.
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I'm so meticulous about everything I do.
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It has to be perfect.
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Maybe one day you'll get there.
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Just gotta let it go loose.
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Yeah, maybe when I'm in my 60s and I just don't care anymore.
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We all strive to hit that point in our lives.
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So, we're captivated by your seemingly sweeping romance with your then sweetheart
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taking you to your first Rolex 24 sports car race, now he's your husband, right?
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Was that the moment that kind of it all clicked that the art was going to be
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cars, or was there some other moment where that all came together for you?
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Michael, my husband, he drives.
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Not as often as he'd like to.
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He's working on his car right now, but he always was a carter.
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So he did, um, shifter carts over in Germany.
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That's where he's from.
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So he was national shifter cart champion twice, and he did
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testing for Formula Renault.
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He came over and I kind of fell away from the car thing.
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I mean, I grew up watching F1 with my dad, but I sort of got into the horse
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stuff and I was like, yeah, cars, whatever we're going to deal with the horses.
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So he took me to Daytona for Rolex.
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The entire atmosphere there is just.
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So energetic and so exciting.
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And somebody said to me perfectly what it is about racing.
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That's so unique is you can't write a script for it.
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You never know what's going to happen.
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That's what makes it so exhilarating.
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So to speak after experiencing that for the first time, and then the community
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that surrounds racing and the support of just race fans in general, I don't think.
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comparable to any other sport.
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I mean, if you look at Daytona, it's a bunch of guys and a bunch of teams beating
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the crap out of a car for 24 hours as hard as they can to be able to come in first.
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There's unexpected things that happen, but there's a lot of really cool
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Cinderella stories that happen as well.
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More specifically, Historic's pretty much regulars at this point to HSR
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events and HSR Daytona's coming up.
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Looking at how cars were built then as opposed to now is just
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mind boggling to see the evolution of how far we've come and how the
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innovation began and it's continuing to progress in sports car racing.
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There's nothing compared to being able to stand trackside, having
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your eardrums blasted by the RSRs going by, or the Corvettes for
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that matter, they're so loud.
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But to be able to capture that and put it on canvas is what I really wanted
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to go for, because you don't get that excitement from pretty much anything else.
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Very true.
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So, uh, what is Michael working on in the garage?
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He originally had a 964 that was converted to a full track car, and he sold that.
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Now, he has a Diazio, which is a kit car made by Fabric, and it has
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a Hayabusa motor in it, actually.
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It's like a three quarter scale 962, is what it looks like.
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Sort of like a Radical.
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Almost, yes, but it's a closed cockpit as opposed to a Radical.
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It's pretty cool.
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I have some pictures of it on my Instagram, if I'm not mistaken,
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but I think he's going to end up doing the shell livery on it,
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which I'm pretty stoked about.
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I'm partial to Alitalia liveries, you know, just saying, but, but that
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actually brings us right back into your artwork because that's a very 70s thing,
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you know, like the Audi sport stuff, the Momo 935 behind me, the Lohenbrau
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962 behind you, things like that.
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And so, You said something really important.
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You went to Daytona in 2012 and you were talking about how the cars before
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that time were just mind blowing in terms of their engineering and
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their design and things like that.
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And I agree with you 100%.
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If you look at the different decades of vehicles, especially
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in racing outside of the street cars, they're so wildly different.
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They change drastically.
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But then when you went to Rolex, they kind of stayed the same for a while.
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It's the same kind of cars now as it was then.
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So what took you to the seventies into the eighties, to the heyday
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of Can-Am Camel GT TransAm, IM ssa.
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You know, there were so many different sanctioning bodies at that time
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that hadn't gotten all together yet.
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Why the seventies in the eighties?
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I am super partial to that because those are your glory
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days of racing, so to speak.
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If you ever get a chance to sit down and talk with Derek Bell
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about his time driving the nine 17, it's basically like driving.
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Lawn furniture around super ridiculously lightweight cage that wasn't meant to
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do anything but cut weight and it's super funny listening to him talk about
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it, but I think at that point there was so much more room for creativity and
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ingenuity and we didn't understand as much about aerodynamics at that point
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as we do now, whereas everything is Pretty much super uniform because we
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have such a better understanding of how all of that works on top of that.
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We didn't have as many regulations for what racing is allowed to be like fuel
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consumption and things along those lines.
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A lot of things are going hybrid now, which is fine, but racing is racing.
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For a reason, I understand the need for developing cleaner
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energy and things to that regard.
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But I think at that point, there was still freedom to be able to try and
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create a car and dabble in those gray areas and try to find any way to get
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a 10th off of a lap or more than that.
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I think it goes hand in hand with your art.
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It's freedom of expression, right?
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You're allowing the engineers.
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The drivers to push the envelope, and it gets right at the heart of something we've
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talked about throughout this entire season in sports car racing, which is clearly
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defined as balance of power, right?
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Where they're trying to really make for good television by
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keeping cars super close.
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I've said it before, if in reality, if you want to go build a 6 wheeled Tyrrell.
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Go get it.
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Who cares?
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That's what I was going to say.
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I was like, I know that six weird TRL is going to come up at some point.
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Oh my gosh.
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It's so cool.
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And you just don't see stuff like that anymore.
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When you're looking at racing now, I feel like we're just on the cusp of
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getting back into a second golden era of racing with new LMDH program coming in.
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I'm really excited to see what ends up happening with these cars.
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It's an interesting trickle down effect.
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If you're looking at testing on our cars, road cars, it stems from, I feel,
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what we're doing with cars on the track.
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So there are a handful of companies now that are really looking into
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hydrogen power, which I think is super interesting and it could
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make for a really cool outcome.
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But furthermore, I think we're allowing for a little bit more ingenuity nowadays
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in this class, as opposed to what we've had for, what, the last 10 years.
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So I'm hoping we'll have some better racing and I'm hoping that we'll
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be able to see a little bit more creativity coming up in this next
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generation of racing that we're having from the design and art perspective.
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I mean, let's take away, there's only one design that cheats the wind.
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Deliveries were a lot different in the seventies and eighties too.
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You had a lot more petroleum companies, obviously tobacco companies,
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beer companies like Lohenbraun, you just don't see that anymore.
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I mean.
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I'm trying to think of liveries that really stand out in me right now.
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I'm thinking maybe like Michelle Abate's Ghost Trans Am Mustang,
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because it's just so in your face, you don't see liveries like that anymore.
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They're all just kind of just blend together like NASCARs do, you know?
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I am so tired of red, white, and blue and black.
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I am so bored.
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One of my favorites right now is Samantha Tan's BMW.
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It's gorgeous.
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Like Van Gogh.
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So I've been super happy with that one, but I've been saying this.
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We need a revival in color.
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I'm so tired of seeing boring color other than the Wins.
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Wins has been pretty good at sticking to their guns with their purple.
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I'm stoked on that.
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Even their 962 looks great running around the track.
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It's one of my favorites.
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I'm ready to see some more color and liveries on track
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this year, or hopefully next.
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Sometime in the near future, anything would be good at this point.
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We should bring back alien or valiant or however you pronounce it on
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the 935 that green is to die for.
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Honestly, it's one of my go to 100 percent 100 percent I agree.
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And, you know, speaking of the heyday of racing, too, there were so many
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names that still linger that we talk about all the time from that period.
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I mean, we had Lindsay James on the show, Randy linear, any pilgrim,
23:12
you know, and so on down the line.
23:13
There's just so many people from that time period that it's just like what a
23:16
phenomenal time to have been in racing.
23:19
The cars were amazing.
23:20
The drivers were fantastic.
23:21
Not saying that the drivers of today aren't great, but it's just to your point,
23:24
those stories, it all goes hand in hand.
23:27
And hopefully you're right.
23:28
Hopefully 23 brings us.
23:31
That revival, because coming to the big stage at Le Mans, you've got
23:35
almost everybody's petition to car between Peugeot, BMW, Porsche, Ferrari,
23:39
Cadillac, and so on down the lines.
23:41
It's like, holy smokes, like move over Toyota.
23:43
You're not going to win Le Mans by default.
23:45
Even still, racing back then was just so much different than it is nowadays.
23:51
Have you seen the movie Rush?
23:53
Mm hmm.
23:53
Okay, there's some aspects of what Hemsworth says as he's portraying
23:58
Hunt where he says, I think women like racing drivers because they're so close
24:02
to death and they're the most alive.
24:04
It's true in some regard.
24:05
I definitely think that the safety was not where it is nowadays, but I think the
24:11
atmosphere was just so much different.
24:14
Regulations and things along those lines were, again, just so much more lax.
24:18
Opportunity for so much more like tinkering here and there.
24:22
It was a send it atmosphere because people didn't know any better.
24:27
Exactly.
24:27
I'm hoping we're getting into this next golden era because recently I've seen
24:32
this renewed interest, not only in.
24:36
Reengineering how we're putting cars together and whatnot, but in the
24:40
arts, in the automotive industry.
24:43
So I'm hoping that original liveries will be making a comeback or new colorful
24:47
liveries will be making a comeback.
24:49
Even as recent as Pebble Beach, if you looked at every manufacturer that
24:54
was out there, they were working with an artist who was there working live.
24:58
With them at their booths or whatnot like I know Lamborghini have one I
25:02
know Porsche at their little booth that they had out there had four or
25:05
five different artists that they were working with drawing on the cars.
25:09
It was really cool.
25:10
So I'm really hoping that this is going to be sparking a renewed interest.
25:15
in the arts and cars and bringing back fun liveries and things along those even
25:19
memorabilia to that regard like posters and all that jazz we don't see as much of
25:24
that anymore as we used to we need to put the a in stem and get steam more front
25:30
and center science tech engineering art in there along with mathematics Absolutely.
25:36
Absolutely.
25:37
And right along with that, I took my daughter to her first big sports car
25:42
race and she fell in love with the Lamborghini Huracan that's part of
25:47
Flying Lizard known as Sparkle Farts.
25:48
It's that pink unicorn.
25:51
It's a bright, you know, just ostentatious livery.
25:54
But she's immediately like, Oh my God, I took her over to meet
25:56
Andy Lee and some of the crew.
25:58
And now she's a fan.
25:59
She's like, when's the next flooding lizard race?
26:01
Where are they going to be?
26:02
What are they doing?
26:03
And you know, that's the thing to your point, these striking liveries, that's
26:06
how you engage the young people too, because it catches their eye and the
26:10
red whites and blues and the blacks, they just fade into the background.
26:13
Even if you look at the iron Danes in Europe, their bright pink Ferrari
26:18
that they do, their 488 is incredible.
26:20
And they've been killing it all season.
26:22
It's like you're saying, it's super important to engage a younger
26:25
audience because especially with HSR and historic sports car racing,
26:30
not many people know about it.
26:32
I feel like the attendance has been better in the past than it is currently,
26:36
but I think it's so important to engage younger folks and getting them in.
26:40
interested in that event because that's where it all stemmed from where everything
26:45
that we're at currently has evolved from.
26:48
And it's super cool to see the history on track and it won't be like that forever.
26:52
You mentioned at the beginning that you come by your affinity for Porsche,
26:56
honestly, through your grandparents and growing up around 914s and 944s
27:00
and the Porsche club, et cetera.
27:02
But there's also some hints.
27:03
In your collections on your website to the Audi side of,
27:06
you know, Porsche, Audi, and VW.
27:08
And what got me was the portrait of Walter Rural.
27:11
And I said, man, where are the Group B cars?
27:15
Because if you're focused on the seventies and eighties, we got to
27:18
see some Audi Quattros and some Michel Mouton and, you know, Peugeots
27:23
and Renaults and everything else.
27:24
So is that next too?
27:26
So I have a series in mind.
27:28
If you notice, they've drawn a lot of guys.
27:31
I have a whole series of women in motorsports that I'd like to do as well,
27:35
including Michelle, including Sabine, the ladies from the Iron Dames, Lynn St.
27:41
James.
27:42
There's a whole shlew of them that I'd love to get involved with.
27:44
I actually just did one of Deborah Gregg and not many people know
27:49
her story and it's a little sad and she got a little bit of flack.
27:54
But she was really pivotal in helping keeping Brumos Racing alive
27:59
after the death of Peter Craig.
28:02
I'll be excited to share that one soon.
28:04
I can't quite share it yet, but you know that I definitely have plans to get into
28:10
some of the ladies on the motorsport side of things, as well as more cars.
28:15
Walter actually said he would sign that for me whenever we get around to I'm
28:22
hoping we'll make it back over to Germany at some point and run into him at an
28:25
event and get him to sign it for me.
28:27
That'd be super cool.
28:29
All right.
28:29
So earlier we were talking about Michael and what he's working on in
28:33
the garage and you mentioned he was.
28:36
Shifter kart champion and testing for Renault.
28:39
He's clearly into part of the racing community and you've already
28:44
listed off different races you've been to and this, that, and the
28:46
other places you're planning to go.
28:48
So clearly you're spending time around the paddocks.
28:50
What is your favorite track so far?
28:52
Did you have been to most picturesque taking it from the art perspective?
28:57
There's two tracks that come to mind.
28:59
Road Atlanta is absolutely stunning with the S's.
29:04
Second of all, who can say.
29:07
What's more beautiful than the corkscrew at Laguna Seca.
29:11
It's absolutely gorgeous.
29:12
You get a lot of really cool images off of there.
29:14
With the Velocity Imitational, I've seen a lot of stuff and I'm like,
29:18
oh man, I'm gonna have to cram it in and paint that because it's gorgeous.
29:23
There's a lot of really, really beautiful pieces or photos that come
29:27
from Laguna Seca and Road Atlanta.
29:30
Those are two of my favorite tracks, for sure.
29:32
Have you gone to many tracks in Europe at all?
29:34
We've been to the Nürburgring.
29:36
That's the only one that I've been to personally.
29:40
When we went back over a few years ago, we were hoping to be able to
29:44
get on track, but they were doing qualifying for the 24 hour Nürburgring.
29:49
So, we just got to sit outside and listen.
29:52
To all the gloriousness beating around the ring, but we didn't get to go on
29:57
it last time around, unfortunately.
29:59
So do you have a track in mind anywhere in the world that you'd want to go or paint?
30:04
Funny enough, I'd really like to do a piece from the Monaco Grand Prix.
30:08
That'd be cool.
30:08
Historically speaking, it's a very rich track, and there's a lot of
30:12
really cool stuff in the background.
30:14
A lot of buildings.
30:15
Unfortunately, I want to take that to the next level.
30:19
It needs to be the Monaco rally along the hillside, you know, one lane
30:24
roads, I'm a little partial to rally.
30:27
I'm just saying, no, I wouldn't have known at all.
30:30
I'd like to do a piece from Road Atlanta.
30:33
I haven't gotten to do one from there yet.
30:35
You know, I hear V.
30:36
I.
30:36
R.
30:36
is really pretty.
30:37
V.
30:37
I.
30:38
R.
30:38
is very pretty.
30:39
Michael used to go kart there a lot.
30:41
You'll have to paint the oak tree in though.
30:43
That's right, absolutely.
30:45
Listen, the oak tree is not a fun time for anybody that's had to meet
30:51
it face to face, unfortunately.
30:52
Oh man.
30:53
But you could totally Bob Ross that thing in.
30:55
I mean, it'll be happy little oak tree.
30:57
It'll be amazing.
30:58
I have plenty of reference in the front yard.
31:00
I mean, you know, we'll just slap it in there.
31:02
It's no big deal.
31:04
You got this.
31:05
You got this.
31:06
I think spa would be cool too.
31:09
Spa would be a fun track to paint.
31:11
There's a whole bunch of them.
31:12
This could go on.
31:13
He'd be very busy if you were just hitting every different track.
31:17
Adjacent question.
31:18
So Michael's into racing.
31:20
How about you?
31:21
Have you ever gotten behind the wheel?
31:23
Maybe just done a high performance driving weekend or anything?
31:27
Do you want to?
31:30
If you haven't So, I had this bet.
31:33
I wouldn't say a bet, we had a deal.
31:35
He said if he got on a horse, I would have to get into the race car with him.
31:41
Okay, that's never gonna happen, but whatever.
31:44
He gets on the horse, he gets off.
31:45
He says, you know what this means, right?
31:47
Like, What?
31:49
You're gonna have to get in the race car with me.
31:50
I'm like, okay, whatever.
31:52
Didn't really think anything of it at the time.
31:54
Down here in Florida, we have a little track called The Firm.
31:58
He had a little BMW Z3 coupe, so clown shoe.
32:03
KW's on!
32:05
He redid every single bushing known to man with polyurethane, so
32:09
it was literally, like, on rails.
32:11
It was so stiff, it was not even funny.
32:13
He takes it to the firm, he looks at me, he's like, Remember
32:16
when I got on that horse?
32:18
I was like, Oh no.
32:20
Let me just say, I'm not a great passenger, alright?
32:24
So I get in the car with him, and he's just doing, like, call it a parade lap or
32:28
whatever, just to get the lay of the land with everybody, and I'm already sitting
32:31
there like, Oh god, okay, here we go.
32:35
Comes back in, I grab a helmet, get in the car with him.
32:39
He's like, alright, you ready?
32:40
I'm like, I guess.
32:42
So he takes me out, and I'm trying to film him.
32:45
I'm just screaming internally, like, oh my god, it was Seriously, one
32:51
of the most experiences of my life.
32:53
Make it stop!
32:56
Colin, who's pretty well seasoned in that, gets in the car with him, he
33:00
comes back in and he's just like, I'm not getting in the car with him again.
33:04
It takes a lot to make me nervous, but my god, he hits those brakes
33:08
so late going into those turns.
33:10
Granted, the whole time it was fine.
33:13
According to him, I have a lead foot when I'm driving, so it's a different story.
33:18
The roles are reversed, but we both karting together.
33:21
I've got a little low 206 kart that he got me into, and he's got his shifter kart.
33:26
That's a 175cc, I believe.
33:29
But funny enough, it used to be Sebastian Bourdais.
33:33
It's a small community, right?
33:35
He's down here for the Kart for Kids event that they put on right
33:40
around the same time as the St.
33:41
Pete Grand Prix.
33:42
But it seems like it's a small world, especially when you niche
33:45
down even more into karting in cars.
33:48
All right, so we would be remiss if we didn't have some Pit Stop questions for
33:54
you and you being an artist, we will make them a little bit more specific this time.
34:00
What car posters were on your wall as a kid?
34:04
Did you have any or maybe they were horses as a kid?
34:07
I did not have any.
34:09
It was just horses and more horses and motivational quotes, like hang on with
34:15
the little cat on the branch or whatever.
34:17
But you could essentially say that now I do.
34:20
So I have all my artwork that I have hanging up and I have a bunch of old.
34:24
80s Porsche advertisement posters upstairs that are pretty cool
34:30
that are original to the period.
34:32
So I just decorate my walls at this point how I would have when I was younger.
34:36
So it's just a bunch of horses and it's a bunch of race cars.
34:40
Very nice.
34:41
Which begs the question, what's the best livery?
34:44
That's a great question.
34:46
So I would arguably say Jägermeister.
34:52
Bright orange, but you gotta give me a little bit more than just orange.
34:55
I would say the Valiant, so on the K3 935, one of the reasons
35:00
I painted it, because I love it.
35:02
Between that one, Lohenbrau, and then your Classic Wins.
35:07
I love those three.
35:08
They're my favorites.
35:10
They're really, really good.
35:11
Sexiest car of all time or cars?
35:14
Most beautiful in the eyes of an artist.
35:16
Okay.
35:17
I really enjoy the look of a 356 Speedster.
35:21
It's beautiful.
35:24
Mercedes 300 SL Gullwing.
35:26
Absolutely beautiful car.
35:28
DB5.
35:29
Very classic looking, very chic, you can't go wrong with it.
35:33
Styling from that time was just, it was all about beauty and function.
35:38
So the opposite of that question is obviously, what is
35:41
the ugliest car of all time?
35:43
But is there such a thing for an artist?
35:46
Because you guys find beauty in everything, right?
35:49
There's nothing beautiful about a Pontiac Aztec.
35:52
Yes!
35:53
I knew it!
35:55
It's so bad!
35:56
Like, what were we doing?
35:58
We just took some clay and slapped it around and we're like, yeah, it's great.
36:02
End of the day.
36:05
Oh, the poor Aztec.
36:08
It's just like nothing you could do to it to like soften it up at all.
36:13
Talk a lot about colors, right?
36:14
You talk about these liveries and how you're tired of red,
36:17
white, blue, and blacks.
36:18
So, What is the best color combination for a vehicle?
36:23
Is black the most beautiful?
36:25
Depends on the black.
36:27
I do like painting black a lot because there's a lot of really interesting
36:30
reflections you can get out of it that you don't get out of some other colors.
36:34
I really like Green so take for instance British Racing Green on Cognac.
36:40
I really like that combo.
36:42
It feels Very rich to me and the two tones work really well together.
36:47
On top of that if you do blue either with Uh, light gray interior.
36:54
I like that a lot as well.
36:55
I think that's a really nice combination.
36:57
So kind of like the Sally special that Portia just came out with.
37:00
Nice.
37:01
Good reference.
37:03
There's a lot of famous car designers out there.
37:06
Some are better known than others, right?
37:08
You could say Pininfarina.
37:10
You could say Bertone.
37:11
Tanya and I are extremely partial to Giugiaro.
37:14
So that brings up the question, do you have a favorite design house
37:19
or designer or a brand that you gravitate to that isn't Porsche?
37:23
Well, I'm wearing a 962 shirt and I have Porsche earrings.
37:28
If I were to pick another brand, I do really like Aston.
37:33
I like Aston a lot.
37:34
I think that they're very classically beautiful, as
37:37
well as even classic Mercedes.
37:39
I think a lot of them are very nice as well.
37:41
Partial to Aston as well, because I really like James Bond, but
37:45
that's a story for another time.
37:49
So are you still an F1 fan?
37:51
I am.
37:51
Yes, I will say.
37:53
Modern F1, ever since Drive to Survive has come in, has become a
37:58
bit more dramatic, I suppose, or almost feels a bit scripted at times.
38:05
Getting too soap opery?
38:06
It's turned into WWE.
38:08
No, that's what monster trucks are.
38:12
It's WWE, done with, like, big tire trucks everywhere.
38:16
The real question is, who do you think the GOAT is?
38:20
In Formula One, across time.
38:22
I'm gonna get a bunch of flack for this, probably, but regardless
38:26
of what your thoughts are on him, I do really like Lewis.
38:30
I think that he's been very successful.
38:32
I also really enjoy the prospect of Mick coming up through the ranks.
38:38
Albeit, has, has some Not so nice words to say about Nick saying he's very offensive.
38:45
I'm like, yeah, we're getting attention when Mazepin was driving for you, but
38:50
I digress, you know, that was fine because his daddy was paying the checks.
38:54
Yeah, exactly.
38:55
Exactly Historically, I would say between Schumacher and Senna for
39:02
sure Those two I feel like are the creme de la creme for that.
39:06
For people interested, please go on her website, samanthazimmermanart.
39:10
com.
39:10
Go to the gallery and there is a gorgeous painting of Ayrton Senna.
39:16
Thank you.
39:16
Just, just stare at it for a while because it's just like, sucks you in.
39:21
It's very nice.
39:22
There's a really interesting story behind that photo actually.
39:25
If you watch the Schumacher documentary, you'll hear about it, but Schumacher
39:31
and Senna had gotten into a tussle on track, and he had taken Senna out.
39:37
Senna was looking at the track, like, mulling things
39:40
over afterwards, a bit heated.
39:43
To be understood, but, you know, that was every weekend with him and Alan Prost.
39:49
So, you know, it's all good.
39:50
Oh, my God.
39:52
Bless.
39:53
Yeah.
39:53
And if you haven't seen the Senate documentary, definitely
39:56
see that that is quite good.
39:58
All right.
39:59
Our last and final pit stop question.
40:01
This is the most important one.
40:03
And please think carefully before answering the answer.
40:08
A split second.
40:10
I could be wrong.
40:11
You're the last one in the design room and your vote counts to settle a tie.
40:16
A debate between which car is going to be released.
40:20
The venerable technology filled Porsche 959 or the hot under the
40:26
collar passionate Ferrari F40.
40:28
Which do you choose?
40:31
Oh man, this is a hot button topic for sure.
40:35
Having sat in an F40.
40:39
They're beautiful.
40:40
I adore them.
40:42
I have not sat in a 959.
40:45
Man, this is a real toss up.
40:47
You threw me for a loop here.
40:48
Oh my God.
40:50
I thought she'd answer easy.
40:52
No, you didn't say anything about the Enzo though.
40:55
Granted, I know they're not quite the same era.
40:58
She's looking for an out.
40:59
Oh, the Enzo look over here.
41:03
Yeah, I don't know, man.
41:05
There's something about German engineering for me.
41:08
The 959.
41:09
Knew it.
41:10
I knew it.
41:11
Alright, that's fair.
41:12
That's fair.
41:12
You're a Porsche gal through and through.
41:14
I appreciate that.
41:15
I can understand.
41:16
I will say, you are in a very small club of people that choose the 959, though.
41:22
The 959.
41:23
I've seen one in person.
41:24
They're absolutely lovely.
41:26
I've heard one go around the track.
41:27
Absolutely phenomenal.
41:29
Both of them are great cars.
41:30
I mean, that's like your classic poster that would be on any kid's
41:34
room in the nineties, right?
41:37
So many people say it's true of racing as well as in your career and many other
41:43
careers that failures breed successes.
41:45
And earlier you talked about that 993 that reminds you all the time of
41:50
how far you've come on your journey.
41:51
Are there still some projects that you look back on and go, man, the juice
41:55
really wasn't worth the squeeze or something that's been sitting to the
41:58
side that you never finished, you know, that you're going to get around to it.
42:01
Talk about.
42:02
Advice for other starving artists, or let's call them aspiring artists.
42:07
What would that be?
42:08
Lessons you've learned, some things you can tell them to
42:10
help them get over that block.
42:12
There's a really good book written by Lisa Congdon that talks about
42:17
being an artist, and the artistic process is like the shape of a U.
42:21
At the beginning, on this side, on the thumb, you start and You're really
42:27
excited because you're starting a new piece and it's going to go awesome.
42:31
And then you start to travel down the U to what she calls the ugly pit of
42:35
despair, where you're like, this is hot garbage and it's not going great at all.
42:40
And that's kind of the point that most people, I feel like it's stuck in.
42:44
I still get stuck in it where I'll just be sitting and staring at
42:47
my painting from across the room.
42:49
I hate it, but if you keep working at it, even if it's a little bit, like five
42:55
minutes a day, that's all you have to do.
42:57
You start to work your way back up that side of the U to where you're finished,
43:02
and that's at your high point again.
43:03
You learn a lot along the way, especially with artwork and painting in particular.
43:09
It's a process and you just have to trust the process and you
43:13
have to get through the part.
43:15
It's ugly phase before you get to the pretty phase.
43:18
I have a couple pieces right now that are in their ugly phase
43:21
that I haven't been able to touch because I'm busy on commissions.
43:24
But if you just even work on it just a little bit a day, you're going
43:29
to end up learning something new.
43:30
You're going to end up figuring out how to do stuff faster the next time,
43:35
what works and what doesn't work.
43:37
And you're still going to end up with a great piece at the end of the day.
43:40
It's just a matter of pushing through that point of where it's in its ugly phase.
43:44
So are there any artists that you look up to?
43:45
I think you mentioned a few names earlier.
43:47
I mean, are those some of your top ones?
43:49
Are there others that you haven't mentioned that are
43:52
still inspiring your art today?
43:54
Oh, yes.
43:55
One of my favorite artists, who's a very good friend of mine, is Kelly Telfer.
43:59
I call him like my art mentor because he's helped me so much
44:03
get from where I was when I was first starting to where I am now.
44:07
Super great guy, super talented, super super helpful with any and all
44:13
questions you may have about art.
44:15
Tim Laizell is another artist that I really enjoy.
44:19
He does the poster artwork for the Pebble Beach Concord as well as I
44:23
think he's done it for Goodwood.
44:25
Previously, he's based in the UK, fabulous artist.
44:29
Ackwood, he's based in Australia and he does a lot of really nice work as well.
44:35
Those are probably my top three artists that I look up to and still
44:39
get a lot of inspiration from.
44:41
I feel like we see each other's work and we all somehow push each other by
44:45
seeing each other's work to do better.
44:48
So, are you kind of like a lone wolf here?
44:50
You've rattled off a lot of different artists and they're all men.
44:53
Well, actually, I lied.
44:54
I do have a couple other female artists that I do like.
44:57
There's this girl named Emma.
44:59
She's based in the UK and she's very good.
45:01
Kate Cook, who's in Texas, who's awesome.
45:05
Lynn Heiner is wonderful as well, but her work is a little bit different style.
45:08
She does like all palette knife stuff.
45:10
As far as women in the automotive and motorsports art industry.
45:17
Which was more my particular question.
45:19
Yeah, it's definitely just like the fine art world.
45:24
It's a lot more geared towards men.
45:27
There may be people that Disagree with that statement.
45:30
That's okay.
45:31
But it is, and it always has been, that men have preference in the
45:35
art world as opposed to women.
45:37
And when you get even more specific into automotive and motorsports art, or
45:41
automotive and motorsports industries, it's predominantly ruled by men.
45:46
And that's fine, that's well and good.
45:48
We're seeing some shifts now, like IMSA does their program that they try and
45:53
sponsor a female or a minority driver to come into the series, as well as the women
46:00
formula series that's over in Europe.
46:02
Like I said earlier, I've mentioned them numerous times, the Iron Dames
46:05
over in the European law series.
46:07
It's not as exclusive to men as it used to be, but there are definitely still
46:14
remnants of that mentality that it's a man's world in that type of work.
46:20
It's super important that women and girls are also represented just as
46:25
much as men that have the passion for it because it does exist.
46:30
There's a ton of us that are out there, and I think it's super important to
46:36
bring awareness to the fact that not many people recognize that we also
46:41
make the same quality work being in the subject matter that it is.
46:46
For instance, Porsche Corporate published two articles recently
46:51
within the last six months.
46:53
One was about digital artists to watch that are inspired by Porsche.
46:58
And I looked through it, it was all men, and I know most of them, it's digital art.
47:04
That's fine.
47:05
Okay.
47:05
They did a second article recently, about two months ago, for traditional
47:11
artists that are inspired by Portia.
47:13
I looked through it.
47:13
I know all of the artists on there.
47:15
Not a single woman.
47:17
It's all men.
47:18
It's just a little discouraging because there's plenty of women out there
47:22
that are equally as talented that deserve to be represented by Portia.
47:27
I feel like it just added to the stigma that cars and fine art our man's world.
47:33
Left a little bit of a bad taste in my mouth.
47:35
We need to break this stigma that cars are for boys.
47:39
Cars are for anyone.
47:41
Couldn't agree more.
47:42
And I look at it for what it is.
47:44
I don't judge it based on who made it or what made it or how it was made.
47:47
I mean, a car is an example, like the Lower Brown 962.
47:51
It wasn't one person that put that together.
47:53
It was a team of people, men, women.
47:55
It's just amazing what we can do when we put our heads together
47:58
and buckle down to do it.
48:00
So to your point, I think we do need to highlight the people that are behind the
48:05
scenes that aren't being recognized in the same way and, you know, in total fairness.
48:09
So that shift is coming and we're seeing more of it.
48:11
And that's why we have folks like yourself on this show to tell your story and to
48:15
be able to share that with everybody.
48:17
So what we haven't talked about is how does one go about acquiring
48:22
some Samantha Zimmerman artwork?
48:24
So for commissions, if you go to my website, you can hit a contact form and
48:29
you can fill out all the information and send me an email with that.
48:33
Or you can send me an email directly.
48:35
It's samzimmermanart at gmail.
48:38
com.
48:38
If you're looking at buying an original for me of my produce works, I have
48:42
them all listed on my website as well.
48:44
I do have prints of the majority of my work.
48:48
Just get in touch with me and I'm more than happy to assist from there.
48:51
And there's a store coming soon, right?
48:53
On the website it says.
48:54
Yeah, for sure.
48:54
So there's a store coming.
48:56
It's just a matter of technologically setting everything up to get
48:59
it sorted out to make it easier for everybody to buy prints and
49:03
originals and things to that effect.
49:04
But if you have any inquiries about things that I've listed on the website or prints,
49:10
anything to that effect, like I said, you're welcome to get in touch with me.
49:13
I'm more than happy to answer any questions you may have.
49:16
So you alluded to earlier about having more women in the motorsports
49:19
and cars as a theme in your artwork, or is there any other big projects
49:23
you want to share or can reveal, you know, hashtag spoiler alert to anyone?
49:27
So I have a project I've been working on with an author named Sean Cridland.
49:32
Who wrote the history of Brumos Racing.
49:36
It's a group of artists, myself included, that are working on some pieces for him
49:43
that will be auctioned off for charity.
49:45
That's about as much as I can reveal on that.
49:47
But I do also have some interesting things in the works coming up for this year.
49:54
Maybe with Target 66, maybe with the Amelia Island Concord, possibly you could
50:02
see me at Rensport Reunion and some other events in California this year coming up.
50:07
Very nice.
50:08
Very cool.
50:09
Well, with that said, Samantha, any shout outs, promotions, or
50:12
anything else you'd like to share that we haven't covered thus far?
50:15
Well, in the future, I'd really love to be able to set up a scholarship foundation
50:20
or something along those lines or a parody foundation that helps girls and women get
50:28
into the industry, even if it's art or if it's something along the mechanical lines.
50:32
That's a goal of mine to be able to provide that in the future to have
50:35
that as a sort of scholarship fund for people looking to get into the industry.
50:39
Thank you to my wonderful husband, Michael, who supports me in my insanity
50:43
with my artwork that it is and Kelly for helping lead me along the way and all
50:50
of my wonderful friends and family and followers that have come along on this
50:55
journey of motor sports artwork from the very beginnings to what it is now.
50:59
Samantha's art influences consist of a mixed group of prominent renaissance
51:03
baroque and classic masters, along with 20th and 21st century pop impressionists
51:08
and realism artists that inspire and aid her in her artistic style.
51:12
She brings to life through oil and graphite mediums, a near photorealistic
51:16
scene from the motorsports world.
51:18
Truly breathtaking pieces that you can see, admire and possibly purchase through
51:22
her website, www.samanthazimmermanart.com.
51:27
You can also follow the progress of her next pieces by following her on
51:30
social at Samantha Zimmerman Arts on Facebook and at Zimmy Arts on Instagram,
51:37
or look her up on LinkedIn too.
51:39
Well, Samantha, I cannot thank you enough for coming on break fix and sharing
51:44
your story with everyone out there.
51:46
And I'm hoping that if there are other inspiring artists that are listening
51:50
to this right now that they go check out your work and see the kinds
51:54
of things you're putting out there because they are absolutely amazing.
51:58
And they do capture.
51:59
As you said, that golden age in motorsports and seeing the pictures, I
52:05
really feel and I sense your love and your passion, especially for Porsches
52:09
and Audis through the work, but also for the motorsports community at large.
52:13
And that's something that it's very hard to replicate.
52:15
And I appreciate you doing this for all of us, being able to show us this part of
52:19
the world in such a really awesome way.
52:22
Well, thank you.
52:23
Thank you very much for the kind words.
52:25
I, um, certainly aspire to be able to transport my viewers to feel
52:30
like they're their track side again without physically being there.
52:34
Even more with the golden era of motorsports, just because.
52:38
It's going to be too expensive eventually to run some of the cars
52:40
on tracks, so trying to capture the memory and put it right there.
52:45
Well, I really appreciate you having me on and taking some time to sit
52:49
down and talk about cars and art, and it's been great talking to you guys.
52:53
That was great.
52:59
If you like what you've heard and want to learn more about GTM,
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53:26
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