Normally a concise biography would suffice for an artist who had recently left the academy. Sam Andrea’s biography (Amsterdam, 1991) would probably list that he graduated from the Royal Academy of Arts in 2018 and learned to draw with artist Frans Franciscus before that.
No matter how recently Andrea graduated, such a biography does not do him justice. To begin with, Andrea was the only one of his class who worked with a brush on canvas and was consequently labelled a romantic anachronism by his teachers. For Andrea, however, working with a brush on a canvas is a necessary mental and physical battle. "If it wasn't a fight, it wouldn't be interesting either."
This attitude is typical of Andrea's worldview: he detests neo-liberalism and advancing gentrification of Amsterdam, nor is Andrea particularly happy with stylized Instagram posts or polished internet art. According to Andrea we have lost contact with ourselves because of that cleanliness and it is important to accept our ugly, dark side to find ourselves and to see what is beautiful. That dark side consists of self-destruction, violence and sex. It is these primal instincts that have a prominent place in Andrea's work.
Although Andrea's work is figurative and interspersed with autobiographical elements, his worldview, which has been boned to primal instincts, gives his work an almost physical charge with universal recognisability. To get to that core, Andrea, often together with his muse, half-uncle and stuntman Jef, consciously or unconsciously seeks out extreme situations, which tend to be on the fringes of society. For his work, Andrea draws from car accidents and wassails and from the boxing and sex parties that he organizes under the title Sexy Violence.