Sam Burton Of Sure Shot Is Quietly Shaping The Look Of Auckland Hospitality

Could this West Auckland-based artist be the most quietly influential player in Tāmaki Makaurau’s dining scene?

What defines Auckland hospitality in 2025?

Raw fish? Martinis? A concise menu of shared plates? Sourdough and flavoured butter? A belief that tiramisu is the only palatable dessert option? The imprint of a West Auckland artist is an unlikely answer, but look around and the signs of Sam Burton’s influence are there. Literally.

Through his signwriting business Sure Shot, Sam, a self-described “modern agent for traditional techniques” has become a go-to across the city. The hand-painted, gold-leaf designs that welcome you to your favourite restaurant? Probably his doing.

One frames the dainty damask design in the front window of pint-sized eatery Roses Dining Room on Karangahape Rd. Across the street another canvases the floor-to-ceiling glass frontage of St Margs in cursive gold lettering. It’s his handiwork that shouts “BIRRIA TACOS” to anyone passing Broke Boy Taco in Mt Albert. His hand-drawn designs have long helped set the scene for diners at Korean restaurant Ockhee, and it was through a tangerine and periwinkle blue Sure Shot design reading “Coffee early and drinks later” that it announced an expansion into breakfast earlier this month.

His omnipresence spells out the crucial role decorative and interior design plays in enhancing a dining experience, and that’s how Sam approaches the interplay between his artform and the food realm.

“Curated art can significantly transform spaces, communicate identity, and set the tone. When done well, it creates a memorable atmosphere or emotional connection, which generates buzz and ideally leads to more business.”

“If they have an LED neon sign, that’s a red flag for me. I’m looking for authenticity and to be acknowledged by the staff as soon as possible. First impressions are make or break, and it’s very competitive out there, so getting the vibe right is crucial,” says Sam.

Though he’s developed a tight-knit relationship with Tāmaki restaurateurs, it’s not a path he deliberately set out on. Sam’s career in signwriting started straight out of school. A childhood spent trying to recreate lettering and logos with paper and pencil spawned a fascination with graffiti and calligraphy, which morphed into a signwriting apprenticeship at Blomfield Signs. “8000 hours later I was qualified and received a national certificate in hand lettering,” he says.

He spent the next two decades working in the signwriting business – pivoting as technology changed the industry. When digital and vinyl designs began to subsume the commercial market Sam turned to personal projects to fulfil his desire for hand-crafted forms, picking up his lettering brushes to paint a small tattoo shop sign for a friend.

“From there things snowballed – I found myself painting everywhere – cafes, pizza joints, tattoo shops, barbershops. I made a name for myself painting signs around town as a side gig to my sign [writing] job for 10 years.”

Sam says a spirit of adaptation aids his creative growth too. “I’m interested in experimenting with different mediums, techniques, and styles to discover what resonates with me. I believe that’s how I’ve developed my style up to this point.”

Bespoke jobs are now Sam’s full-time gig and he humbly describes his input as “adding the finishing touch”, a phrase which belies the importance of scene setting as well as the collaborative nature of his process. “The most successful outcomes come from more collaborative situations, where we strike a good balance between creative freedom and meeting the requirements of the brief,” he says.

“The real value lies in earning a client’s trust to deliver a unique piece of work that elevates their business.”

“We referenced traditional Korean artwork and the existing branding to create bespoke individual pieces that together pay tribute to the style and energy they put into their business. All pieces are painted and decorated in reverse with enamel paints and gold leaf.”

Similarly, the oversized artworks crafted for Freeman’s Bay Izakaya Yume stand out as a project Sam is particularly proud of. “I spent over a week gilding and painting on-site. Over 1000 sheets of gold leaf were used to create the bright mirror outlines of the artwork. I’ve been a long-time fan of Japanese aesthetics, and turning the illustrations [produced by Kevin Cho] into a large-scale installation was a dream project.”

Though he thrives on a collaborative spirit in the ideation stage, when it comes to the physical mahi Sam retreats home to Titirangi, pottering away in a micro-studio he’s set up in the back garden, surrounded by his bonsai collection.

“I’ve fine-tuned everything to suit my needs, and I’m grateful to have my own space to create. It’s all the inspiration I need to do my thing.”

It’s from this compact space that Sam produces another of his coveted outputs that reflect traditional techniques. “I dove into the lost art of glass gilding and creating signage and artefacts of my own design, which brings me to where I am today: specialising in gilding on glass to create decorative artwork and bespoke mirrors.”

The creative who bridges the realms of nostalgia and an appetite for agenda-setting design, is admirably rooted in the present. Ask what’s on his horizon and he replies: “Besides looking after my wonderful partner Kristy Teague and three beautiful kids, I plan to expand my craft, create and sell art, and travel with my brushes, working around New Zealand and worldwide.

“The switch to self-employment has had its challenges, as there’s always a lot to manage on top of the actual work. Taking care of oneself, however, must not be ignored.”

More on art and design

Inspiring creatives and their studios.

Claudia Kogachi built a fantastical world. Now she’s expanding it. The artist steps further into the spectacular — think New-Age tapestries on acid.

In her Tauranga studio, Jaime Jenkins finds evolution in clay. The sculptural ceramicist makes stoneware that sways between sculpture and function.

In my studio: Wellington ceramicist Deborah Sweeney’s creative space in a peaceful garden. The ex-fashion designer works with NZ clay to create elegant, organic forms.

How to buy art: Experts on where to start, making your money go further. Three experts share their beginner’s cheat sheet.

From her Southern Highlands studio, Zoe Young gives paintings time. In a wild, rambling garden in NSW, the painter explores the musings of daily life.