AINAH Interview with Thomas Graff

🎨 Art is Not a Hobby Interview with Thomas Graff

Multidisciplinary Artist & Creative Director

In this inspiring sit-down at Broker’s Gallery, we talk with Thomas Graff, a multidisciplinary artist whose talents span drawing, painting, creative direction, and more. From growing up in a creatively rich household to working with brands and founding his company Visual Carbon, Thomas opens up about self-doubt, building confidence, and what it takes to turn creativity into a career.

Q&A with Thomas Graff

Q: Can you take me back to the beginning of your creative journey?

Well, I’m sure this is something creatives can relate to. In second grade, our teacher asked what we wanted to be when we grew up and I already knew—I wanted to be an artist. I grew up the youngest of six kids in a creative household. My mom played piano, my sisters were musical, and my dad played guitar. I didn’t know exactly what kind of artist I’d be, but I learned piano, sang, played saxophone, joined a band. I always knew I wanted to be a creative person.

Q: Did you have a strong support system growing up?

I did. My piano teacher, Mrs. Billings, was a weekly supporter and motivator. And Mrs. Google, one of my English teachers, once organized a trip for us from Illinois to New York to see Broadway shows and meet producers. That kind of encouragement was huge.

Q: Was there ever a time you doubted yourself? How did you build confidence?

I still doubt myself all the time. Imposter syndrome is real and not just for creatives. But creatives face a unique challenge. Society often undervalues art. In business meetings, they might want a whole campaign but only offer $500. That undervaluing makes us question our worth. So we often have to prove ourselves more than people in other industries but we are bringing enough to the table, and our work is valuable. 

Q: For someone starting out, is it worth doing low-budget work to get in the door?

Yes—if it aligns with your goals. For example, if you create social media content and it's a $100 job that introduces you to 50 influencers ? Do it. That's networking, just like going to a business event. If that project helps build real relationships, it's worth it.

Q: You have your own company, Visual Carbon. How do you find clients?

It started when I lived in New York and worked at Milk Studios. I networked, learned Squarespace when it was still new, and offered full packages—websites, styling, branding, photography. Word of mouth took over. I did work for a brand called Buoie USA, and later another company hired me after seeing that work. One gig leads to another if you bring something fresh to the table. You have to put in the work, and in today's market creatives should hone in on what they're good at but also stay openminded. For example, I use AI all the time. It’s a tool, and creatives should embrace it. There’s a market for it. If it helps you create better or faster, or opens new doors, why not use it?

Q: You went to art school, do you think school is necessary for creatives?

What a question. I think school is extremely expensive in the US. These days, there’s so much free information available through YouTube, Google, and social media. If you're driven, you can teach yourself. I actually find the idea of trade schools pretty attractive. Why wouldn’t you just go learn the specific skills you want to learn? If you attend a college that can get you into the field you really want and connect you to valuable networks, maybe it’s worth the investment. So it’s really a personal choice.

Q: Let’s talk about your drawings and paintings. If someone wants their art exhibited at a gallery, where do they begin?

Just to start the conversation—as artists, we are witnessing the world and expressing ourselves, in whatever art form that is. But the decision to show your work is deeply personal. I would encourage people to make that choice by looking at the world around them and asking how their work might impact their community. I chose to show this body of work because I see people struggling. I’m struggling with things I’ve been through recently too. I put on this show because I wanted to open up a dialogue with people like you, and with the community, just to say—we're all going through something. Let’s talk about it.

Start by building a strong body of work. Group shows can be a great entry point. Just know that gallery submissions often come with fees $25, $50, sometimes more and they add up. Personally, I like creating my own opportunities. For this show at Broker’s, I already had the work ready and pitched it at the right time. But you have to prepare. That means the artwork, frames, marketing materials—it takes effort.

Q: What’s your message to someone who wants to pursue art as a career?

If you want to do art as a career you have to think like a career person. Be open-minded. Hone your core skill but explore others too. I went to art school and did photography but now I have a show featuring my drawings and paintings. It's not directly connected, but you should create however you feel. Don't be afraid to do that and consider how your work might impact others. Being creative at home is beautiful, but connecting with your community is the next step. You need the community, and the community needs you. Your work can become a business if you're solving problems and offering something people deeply relate to.

Q: When did you realize art was more than a hobby?

My parents taught us to work for everything we had. In high school, I remember specifically I couldn’t afford a tuxedo for a school dance. So I started exchanging murals and artwork for what I needed—a tux, gift cards for restaurants. That's when I realized art had value, and I could find a way to use my creative skills to make things happen. That mindset stuck with me through New York and beyond. I always found ways to make art work for me and for others. You have to look for opportunities and bring them to the table. 

🔑 Key Takeaways

Imposter syndrome is real, but knowing your worth helps push through.
Thomas openly shared that artists often feel they have to prove themselves more than those in other industries, especially when starting out. Imposter syndrome can make you question your skills, but recognizing the value you bring is key to moving forward. Confidence comes from both internal belief and consistent action—building a strong portfolio, showing up in your community, and standing behind your work even when doubts creep in.

Low-paying opportunities can be worth it if they offer valuable connections.
Not every project will pay your ideal rate, but Thomas emphasizes evaluating the bigger picture. A smaller job that introduces you to industry influencers or connects you with potential collaborators can act like a stepping stone. Just like attending a networking event, these opportunities can lead to relationships that fuel your long-term growth. The key is to take them strategically—only when they align with your goals.

Success as a creative means diversifying, and being open to evolving your skills.
Thomas began in photography but is now exhibiting drawings and paintings. His journey shows that your creative career doesn’t have to stay in one lane. By honing your main skill while exploring new mediums, tools, and technologies—like his use of AI to enhance his work—you can expand your opportunities and keep your practice fresh. Creative adaptability makes you more resilient and better positioned for changing markets.

There’s no single path—consider trade school, art school, or teaching yourself.
When it comes to education, Thomas believes it’s a personal choice. Art school can provide valuable skills, structure, and networking opportunities, but it’s not the only route. Trade schools, online resources, and self-directed learning can be just as effective if you’re disciplined and committed. The most important factor is aligning your learning path with your goals and the environment where you thrive.

Artists should create their own opportunities, not just wait for them.
While group shows and gallery submissions can be great starting points, Thomas prefers taking initiative—like pitching his own solo shows or creating collaborative projects. He points out that submissions often have fees, so building your own platform can be more sustainable. Proactive action means being ready with a strong body of work, presentation materials, and the willingness to reach out when timing feels right.

Art becomes a career when you treat it like one—think impact, not just expression.
For Thomas, being an artist goes beyond personal fulfillment. It’s about engaging with the community, starting conversations, and creating work that resonates with others. He sees the act of making art at home as beautiful, but believes the next step is sharing it in ways that connect and serve others. When you approach your art with the mindset of impact and service, it transforms from a hobby into a sustainable, meaningful career.

🎥 Watch the Full Interview

Catch the full conversation with Thomas Graff below or youtube @ainahcommunity 

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