BY JO WATERHOUSE
Published by Laurence King 2007
ISBN 978-1-85669-531-2
£12.95
Review by Derek Brazell
Ah, that intangible ‘coolness’. You can define it up to a point and then it just slips away, dissolving under various different perceptions. But it always seems to cling to anything to do with skateboarding. It could be the outsider subculture appeal it maintains – possibly due to the huge amount of practice needed to achieve the skills, deterring most people – and it could be the visual draw that surrounds it. Watching skateboarders twist, turn, and fall off keeps you entertained, and the imagery often seen flashing past on their boards appears intriguing. Concrete to Canvas takes this visual aspect a step further to display artwork created by skateboarders from around the world - those whose work is inspired by their boarding passion but whose art ‘is not defined by it’.Some of the artwork on show here is what you might be expecting, with familiar graphic street art and strong tattoo influences (skulls, roses etc). Chris Dyer’s painted boards, though covering a spectrum of subject mater and intricate pattern, have a skateboarder as crucified victim and imagery drawn from eastern religions and ninja turtles. Flying Fortress’ Teddy Troops creatures remind you that there may be no end to the proliferation of ‘cute monsters’ that retain legions of fans across the world.
Thom Lessner, also painting on wood, creates simplistic portraits of rock bands who inspire him, and it’s a pleasant surprise to see the Bee Gees depicted amongst the other rawk bands.
The work of other artists moves well away from any preconceived ideas. Fernado Elvira works with strong sculptural forms, some intriguingly created by burning onto wood with light concentrated through a magnifying glass, producing imagery and shapes influenced by African and Indian art. He, along with many others in Concrete to Canvas, has been involved in the production of skateboarding magazines and also commissioned by skateboard companies. ‘Skateboarding was my first love and also my first job,’ he says, ‘and it means to me self-expression, freedom, rebellion, creativity, travel and great friendships.’ This sentiment is echoed throughout the brief profiles of each artist.
Product.two, in collaboration with Eric Pentle, has produced street installations which include the lifesize figure of a man lying in the street. Reactions from passers by are documented on film. ‘As a skateboarder you become much more active in the city’, he says’…architecture becomes a playground and this new freedom opens opportunities for your art.’
There’s an attractive mixture of styles throughout the book, with artists incorporating photography, found materials, and computer programmes into their artwork. Much of the work holds an illustrative aspect which has probably been utilised beyond the skateboarding culture. Unsurprising, given that ‘cool-by-association’ element which many organisations seek to attain.Artist/Illustrator Lori Damiano’s forward describes her observations on the lack of female skateboarders, and this imbalance extends to the artists portrayed in Concrete to Canvas – they are all men. So where can the cool female skateboard artists be?
Top: Fernando Elvira
Centre: Jim Houser spread
Bottom left: Concrete 2 Canvas cover
Bottom right: Fernando Elvira