Washington
1972 was a dramatic turning point for Sams. Dana and he separated, and he left for Seattle, Washington. They divorced later.
In 1973, Sams worked frantically, arranging and preparing for several exhibitions as well as teaching at Highline Community College. He wrote to a friend:
“I almost killed myself with no sleep and worry over my projects.”
In 1974, he taught at The Evergreen State College in Olympia.
Sams married Cynthia Tasso in 1975. They moved to Snohomish, not far from Seattle, where he set up a studio in a huge historic barn. A new phase of his art emerged.
Selections from 1972-78
Most surprisingly, and not long after a critically acclaimed show at the Gail Chase gallery in Bellevue, Washington in 1978, Sams abandoned the professional art world. Those who knew him were stunned and disappointed, especially gallery owners. A large number of artworks were left unfinished.
Although he continued to teach weekly ceramics classes at the Seward Park Clay Studio, Sams became a real estate agent and investor. In 1980, he wrote:
I don’t know if things have slowed down any concerning my ideas and struggles with the properties I’m managing. I think I am beginning to get used to the kind of actions that happen; and I’m developing thicker skin to the problem areas. I wish that my financial ideas worked more smoothly so that I could become less greedy in my pursuit for money to make the payments. I suppose that too will cure itself with time.
This new year looks to be the best to come along for us since Cynthia + I met. I am looking forward to it.
(Note to Rober Dale, 1980)
In 1995, a major flood devastated the Sams’ property.
We’ve been BADLY hit by floods—did about $30,000 damage + gov’t is only allocating @$2,000. Took out our concrete restraining wall + big trees + shrubs. There’s a pit there about 20’ deep and over 100’ long, + no other help from other gov’t agencies. Last night we were out in freezing winds + snow wrapping out water pipes which were exposed. We had to be helicoptered out— this flood was FAR worse than the ‘75 flood. We are in a pretty desperate mess, of damage to garage, art bldgs, house foundation, roof, + car + truck, etc., etc. Thanks for thinking of us. These are holidays we won’t soon forget.
We’re sitting ducks for next flood—no protection + can’t yet afford to fill hole etc.
(Christmas Note, 1995)
In late 2001, six years after the flood, and after intensive legal work relating to the flood and other matters and success with his real estate investments, Sams returned to his art. The following spring, on May 21st, he wrote in his journal:
The adventure in restarting my ceramic works has uncovered a vast amount of old unfinished projects and half-started projects and damaged work from accidents & earthquakes. Taking the time to learn to slow-down and finish the projects is a new challenge.
I need to remind myself that I’m in a much different and better economic condition now and don’t need to turn myself inside out for survival sales or exhibit commitments that drove me into strange gallery commitments 20 years ago. This can be the work and study of process and love of materials and thoughts. Even as I recover from some chronic heart problems I feel that I can do whatever is required in the studio to make this successful.
2002
