Surfing's Art and Soul - Extended version

1) What projects are you currently working on?

 

KONIAKOWSKY: There are a couple of gallery chains in Hawaii that do well with my painted surfboards–that keeps me pretty busy. I’m also working on a series of large California Coast impressionist paintings.

KNOST: “Beach Blanket Burnout,” it’s a 35-min. scripted surf movie. I wrote it and co-directed it with Tyler Manson (Vice TV). It stars Buster Olson, a nomad surfer who represents everything the timeless surfer is. He drifts between love, lust, adventure, booze and the beach.  I believe it will depict the surfer before and after the marketable explosion of the surf-culture has begun to burn out.  Other than that I am also finishing the touches on my band (The Japanese Motors) record. It’s set to be out this August or September, with a tour to follow as well.

 

PU’U: Two films: “Duet” and “An Equatorial Convergence,” several books, and three gallery shows along with multiple magazine features and an environmental project in Bali, as well as a big image bank project for the San Francisco Council Global Trade Council.

BROPHY: I’ve got about 12 balls in the air right now.  I’m finishing a few commissioned paintings for collectors.  I’m working on a poster illustration for Rainbow Sandal’s upcoming “Battle of the Paddle,” and in a few days I kick off on a two-month tour of stops on the East Coast to promote my new DVD.  It’s called “Paint Pen Techniques with Drew Brophy,” and in it I show, step-by-step, how to paint a surfboard, a skateboard and a pair of canvas shoes. I’m sharing all my secrets. I want to inspire people to paint their stuff with water-based paint pens, and show ‘em that it’s easy– that anyone can do it.

BLACK: I am working on my mind right now. I want to become egoless.

ANDERSON: Currently I’m working on some commissioned work as well as a series of paintings for a show I’m having towards the end of summer. 

LLOYD: I’m working on a body of work that’s loosely based on travel from a mythical, mystical point of view. Cryptozoology, shipwrecks, and of course waves and surfing figure prominently.

GONZALEZ: I just finished drawing the poster for the Archie movie with no money at the end as usual, so I had to bum some scratch off Arch, who’s broke as well, so my next project is to stick my last sharpened pencil into my heart and put an end to this surf art shit.

 

 

2) What materials/techniques do you use?

KONIAKOWSKY: I paint in acrylic and oil. 

 

KNOST: Mixed media, I've recently been taking photos, writing and playing music, as well as some experimental visuals.

 

PU’U: I write, I am a photographic artist and film maker.

BROPHY: Most everything I do is painted with water-based paint pens.  I paint surfboards, guitars, skateboards, motorcycles, canvas…anything with these pens.  I also work with other mediums, but paint pens are my choice in this phase of my career.

 

BLACK: I use images, and writings to help place my thoughts to where they no longer are thoughts that get noticed. I concentrate on my breathing to help place my body where it no longer feels like a body. Then I find myself in a place where I am no longer concentrating.

ANDERSON: I like working with all materials, from pencil, scratchboard and ceramic sculpture to oil paints or bronze.  But the last few years I’ve been taking a lot of water photos, then creating oil paintings from the shots.

LLOYD: I’m using virtually anything I can get my hands on. Some pieces have ten to 15 different materials in them.

GONZALEZ: Blood, sweat and beer and any leftover art supplies I stole from high school.

 

3) How did you get into surf art?

KONIAKOWSKY:  I’ve always been aware of a connection between art and surfing–it’s just there.

KNOST: Easy, I’m not.

PU’U: Art and Journalism were my original fields of study. Music, dance and art run in the family, especially the Hawaiian side. I am from a water-centric background so combining interests put me in that genre.

BROPHY: When I was a kid, I was always painting on everything.  I loved surfing, so my main theme was surf.  As a kid, I started painting my boards and then got connected with surfboard factories painting large numbers of boards.  The surfboard paintings led to painting canvas and then designing for clothes and a lot of other products.  My career just exploded. 

BLACK: I was dissatisfied with the surfing videos my roommate was watching. I knew that I had enough friends that were on the level, such that we could make something fresh. That is the trick...freshness. Like Doug E. Fresh used to always say.

ANDERSON: Growing up in the ocean has been my inspiration.  Santa Cruz is also an incredibly artistic community, so being surrounded by inspirational family members, friends and teachers has helped a ton.

LLOYD: I’ve been painting professionally since I graduated from CalArts in 1985—making primarily abstract paintings. Having surfed for 40 years, it was only 

natural that surf imagery began to creep into the work. It was an organic process.

GONZALEZ: Pot

FLETCHER: I’ve always done surf art. Making surfboards and designing new ways and styles of surfing and skateboarding. Name a few pools—No Nose, mind-giving fun Backdoor in ’67. Longboards–the thrill is back ’75. Tow-in outer reefs Pipe. Videos, Air Movement. Did I leave anything out? Drawing, painting in my bedroom when I was 15. Resin painting airbrush surfboards. Gluing blanks up “shaping.” Glassing hot coat make the fin ride make a new one. Go on surf trip making surf movies with Bruce Brown. Greg Mal, Ron Stoner. Designing tees’ logos…

 

4) How do you feel about the term, "surf art?"

KONIAKOWSKY: I dislike it and avoid it.  It’s just art, no label needed–let the viewer make the connection in any way they choose.

 

KNOST: I dunno? I suppose it’s a marketing term a man in a business suit came up with. So he could give his marketing department a catch phrase.

 

PU’U:  I like it actually, as long as it is not performed in a contrived manner by the unskilled or emotionally inept.

BROPHY:  I always called myself a surf artist because I did all surf stuff for surf companies.  But now I’m backing off of that, because I paint so many other subjects, like music inspired paintings.  I want to continue to grow within and beyond surf.

 

BLACK: Ultimately I am indifferent toward the term "surf art." I mean, it’s just a juxtaposition of two words in the English language. The term does have an association with me. I think of images I have seen throughout my life. The waves I have drawn on my school notebook covers, the paintings of surfing and waves my friends make and sell. The photographs of surfing and of waves my friends take and sell.

ANDERSON: I think the term “Surf art” means different things for different people; I think it’s a broad term because my art may be considered “Surf Art” by some or “Fine Art” by others.  

LLOYD: I suppose the term is somewhat limiting, but I can’t think of a better name for this (relatively) new genre of art.

GONZALEZ: Sucks.

FLETCHER: I’m an artist that surfs. Lots of surfers are artists, some better than others. Most of them are in the business of R+D (Rip-off and Distribution.) My art is surfing.

5) What’s the job market like for a surf artist?

KONIAKOWSKY: In terms of success measured in sales, I would never limit myself to such a narrow niche as “surf art.” My art is about the ocean. I’m trying to tap into an energy and life force that’s so vast and touches us all in so many ways. 

KNOST: You can be a bottom feeder or a visionary. Like most things great, very few people understand it.  If you view any sort of art as a job, well that’s completely different.

 

PU’U: 

The world is your oyster.

BROPHY: What’s the job market like for a surf artist?  The surf world is so small, if you are going to make a career of art, you have to think bigger than surf.  You can take your surf out of surf to large companies that want a taste of the surfer lifestyle…That’s where a surf artist can make their money.

BLACK: I have no idea. If it weren't for my Master's Degree in Pure Mathematics, I'd probably be living in a cave somewhere.

ANDERSON: You can do well if people like your work. 

LLOYD: The potential to make a living selling art is there, but it takes perseverance. Like most artists, I’ve always tried to avoid having a “real” job.

GONZALEZ: Sucks ass

6) What’s the relationship between a surf artist and surf companies in terms of design or partnerships?

 

KONIAKOWSKY: It can be good or bad. I’ve experienced both. Any client that wants to control the artist too tightly will create frustration and the end result will suffer. I recently did a rather large project for Billabong. They were great to work with, gave plenty of freedom, and as a result, the end product was good.

 

KNOST: There is a big difference between the people and peers who support and understand art, and those who exploit it and make a fad out of it.  Most people in the surf industry that make money off "surf art" don't understand art at all. I choose to work with my peers.

 

PU’U: It really depends on the direction of the company. The more together organizations pretty much just give you a direction and turn you loose.

 

BROPHY: In the surf industry, only about 10% of surf artists have a great reputation for their professionalism and talent.  They get the best deals with surf companies.  I’d say the other 90% of surf artists are struggling because they give their art away cheap, they agree to give up their copyrights, they put themselves in a bad position and in the end they have to go out and get a real job. It kills me to see it.  I want to see companies team up with designers and artists and promote them as unique.  In a small way companies are starting to promote artists.  Even still you need to watch yourself – you want to make sure you have a good deal.

 

BLACK: I have friends that are graphic artists for a major surf company. They seem to have a very creative job. They throw fun parties.

ANDERSON: Socially and economically, the world needs artists.

LLOYD: I’m surprised more surf companies aren’t using fine artists in their products and advertising, as opposed to in-house graphic designers. I’m sure it’s partly a cost issue, which is understandable. I do think involving surf artists as designers could bring a fresh look to these companies.

GONZALEZ: Sucks balls

 

7) Is art in surf a fad?

KONIAKOWSKY: Probably.

KNOST - I suppose everything is a fad to some degree.

 

PU’U:  I think that surfing and in turn surf art has succeeded in finally breaking its history of being trend or fad-oriented and is now seen largely as a source of pure content in terms of social commentary and contribution.  This is evidenced in that it contributes to mainstream without actually being entirely mainstream: It is aped by non-surf commercial entities and raped for its vital imagery.

BROPHY: That’s like asking is surfing a fad. Surf and art have been hand in hand since the beginning. Without art, you couldn’t sell products.  Imagine Quicksilver’s shorts with no art.  Season after season, a short with nothing on it….Behind every good trend there is an artist or designer.  It could be even a group of them feeding off each other. Eventually the whole industry jumps in. They copy what’s working. 

BLACK: Define art and I will be able to answer that question more succinctly.

ANDERSON: Defiantly not, the ocean will always inspire people to create art. 

LLOYD: For some it is. But for a lot of us, it’s just part of our natural evolution 

as artists.

GONZALEZ: Not if it lasted 30 years for this dumb ass.

 

8) Is it alright to “sell out” – to use your own creativity and artistic drive so that the billion dollar surf industry can profit from it? 

KONIAKOWSKY: If an artist is involved in “commercial art,” the whole idea is that the client would profit in some way from the art–otherwise why would they commission it? The real question is how does a creative person make a living? Why do you only hear about the “starving artist” and not the “starving baker” or the “starving lawyer”? It’s because too many artists believe that we’re not supposed to be paid well or that great art comes from suffering and suffering for most artists comes in the form of no money. For me, the problem is not “selling out” as much as it is being fairly compensated for my art, and managing the business of art. If I can’t make money to put food on the table, then I don’t get to be an artist–it’s that simple.

 

KNOST That question is so amazing it doesn't need an answer.

 

PU’U: I never see myself as selling out. Selling out is giving your soul away without accountability to the people and sport and world who give it vitality. I am a firm believer in artistic and altruistic accountability. In effect, the more I have, the more I expect myself to be obligated to give.

 

BROPHY: “Selling out” means to go against your personal values in exchange for money.  I value making a profit and helping the companies that I partner with to make a profit.  It’s my job to make their product look good, so that it sells good, so that it makes the end customer happy, and everyone wins.  With that being said, as an artist, I am trying to reach as many people as I can.  I want to show them my art, make people happy, especially kids.  I want to be a positive role model, show people that you can be a successful artist and impact the world.

 

BLACK: Why would anyone do anything to increase the profits of a billion-dollar machine, unless that billion-dollar machine was theirs? Even then...who are you if you wield a billion-dollar machine. I don't hang out with those dudes. Anyway, to me, art is something that occurrs spontaneously…Without purpose, without direction. If you create something from this foundation and somehow the billion-dollar machine profits from it, then what is an artist to do? However, if you set out to create with the intent of feeding the billion-dollar machine, well then ...that is what you have chosen to do. Is some one a sell out? I don't know. What difference does it make anyway? What benefit to our community occurs by assigning that label to someone?

ANDERSON: I don’t know… I feel if someone’s making a living doing what they love, they’ve got it made.

LLOYD: Most artists struggle at times to make a living, so I don’t have a problem with a commercial application for the work. I just think artists have to be careful not to try to tailor their art to the marketplace.

GONZALEZ:  No it’s much better at the end of your career to be broke and thrown in a pauper’s grave with the holy trinity of surf artists -–Severson, Griffin and Ogden tatted on your back and a paint brush up your ass.

FLETCHER: Yes, you have to buy in. 

 

9) How does surfing inspire/relate to your work?  

KONIAKOWSKY: Surfing for me is a way to connect with the ocean, friends and a subculture that I’m comfortable with because I’ve spent most of my life involved in it.

KNOST: I am a surfer, I love surfing. I find most surfers in this era have become the polar opposite of what surfers used to be. Surfers were the open-minded outcasts to the mainstream. They were the free-thinking rebels, the alternative.  Today, most surfers I meet are narrow-minded bigots with too much sand in their ears. It’s depressing; however, it inspires me to make something of it.

 

PU’U: It is both foundational and fundamental in my understanding of how the universe works.

BROPHY: It’s everything – surfing is freedom, joy.  I love being in nature and tripping out on it.  This is what I put in my paintings.

BLACK: It keeps it flowing.

ANDERSON: I feel extremely fortunate to grow up next to the ocean; it’s a huge inspiration in my art and my life.  I want to show people how I see the ocean through my paintings. 

LLOYD: My art and the ocean are so intertwined at this point that one inspires the 

other.

GONZALEZ:  I don’t even have any time to get in the water anymore since I left my tropical dream. I’m too fat, broke and stressed out chasing the almighty surf artist dollar scheme.

 

10) Who should we keep an eye on in the surf art community?

KONIAKOWSKY: I like Tyler Warren’s work; it’s fresh and interesting.

KNOST: The ones who control it, large companies like Billabong and Quiksilver because they are probably selling you a rip-off of my friend’s artwork on a sweatshirt, and de-valuing art in its entirety.

PU’U: The people who want to make a positive change in what appears to be an increasingly negative environment.

BROPHY: Keep your eyes open - in every little town, every little break, there’s probably some hidden talent just waiting to turn our world upside down.

BLACK: Yourself.

ANDERSON:  I don’t know anyone who calls himself or herself a “Surf Artists,” but if you want to see some art coming out of Santa Cruz, check out Open Studios in October.  Ride your bike around town on the weekends and you will see an incredible amount of talented artists in the community.   

LLOYD: Keep on eye on Will Pennartz, who owns The Surf Gallery in Laguna Beach. Not only does he exhibit some of the most interesting surf artists, he’s also 

created “The Happening,” a surf art, music and film festival that he’s been 

touring with around the world.

GONZALEZ: Any inspiring surf artist that read this and decided to get a real job or the cat that split to the jungle and is painting naked brown chicks on velvet. I chose the latter.