It's old, incredibly gritty, and teeming with tourists, but Tom Knox and crew devote this episode to one of Britain's most legendary spots.
Waxfeather contributing photographer, Sergej Vutuc releases this video which accompanied to his latest book called Cista Zona.
The Ukrainien Expedition was initiated by Sergej Vutuc and filmed in Kiev, Odessa, Slavutych and Chernobyl
Special Thanks: Dimitri Rosomako, David Grigoryan
Skaters: Igor Fardin, David Grigoryan, Valeri Rosomako, Tomaž Šantl, Tjark Thielker, Sergej Vutuc
Video composed by Tomaž Šantl
Music composed by Zlatko Djogić
BW super8 by Sergej Vutuc
Color super8 by Valeri Rosomako
Graphics by Hanna Juta Kozar
Video was premiered at Metelkova/ Menza pri koritu
An unconventional encounter between maths, art and skateboarding.
This film documents a series of performances at the Palais de Tokyo in Paris, as well as the Institute of Contemporary Art Singapore and Sainte-Croix Museum in Poitiers.
The project originated after Carhartt WIP approached Isle skateboards to work on a collaborative collection.ISLE, which started in 2013, has always prided itself on artist led conceptually driven ideas. Carhartt WIP and ISLE could think of no one better than artist and fellow skateboarder, Raphaël Zarka to work with. When they approached Zarka, he had been researching the work of 19th Century mathematician Arthur Moritz Schoenflies.
Schoenflies was a master of geometry and crystallography. He had developed his own three dimensional models that specifically captivated Zarka’s attention, after he was inspired with their sculptural potential.
This film invites you to view Zarka’s large scale reconstructions of Schoenflies’ models, re-appropriated in a way never imagined before.
Featured skaters :
Sylvain Tognelli / Nick Jensen / Casper Brooker / Jan Kliewer / Joseph Biais / Rémy Taveira / Josh Pall / Chris Jones / Armand Vaucher
Filmed, Edited and Directed by Dan Magee.
Technical motion design by Fabian Fuchs & Location intro animations by Andrew Khosravani.
Music composed and performed by Joel Curtis with contributing scoring by ADSL Camels.
"Into Metropolis" by Stamp Skateboards x Waxfeather
To support the release of Waxfeather Issue 06, we've team up with the guys from Stamp Skateboards to document this video that covers on our recent skate mission in Tokyo. Check out the full article and photo gallery printed in Waxfeather Issue 06.
Featuring Casey Foley, Jeremy Corea, Tom Bentley, Hamid Monis, Morgan Campbell, Tommy Breaks, Jack Jourard, Ricky Watt, Caeylen Norris, Rob Schmitt, Mike Martin, Louie Dodd, Lewis Rodan, Nick Smith, Ben Hermans, Colin Cimon, Eugene Stewart and Harry Clark.
From his studio in Singapore Mister Tucks rewrites skating’s history for a new collaboration with REAL featuring Dennis Busenitz & Ishod Wair Pro Decks and more.
ROSE IS THE APPLE OF MY EYE
The magic of skateboarding isn’t going further or faster or even higher. Those are physical feats that the mind automatically gravitates towards, when learning a new skill. Fluidity is skateboarding’s power and allure—the ability to physically interact with your environment in completely new ways and adapt to anything. Every time you step on a skateboard, no matter what your age, race, sex, or even physical capabilities are, you have a unique opportunity to do something that’s never been done before.
If you embrace that side of skateboarding, New York City is one of the most expansive palettes to create on, despite Manhattan being less than 23 square miles. For Aaron Herrington, it wasn’t his home state of Oregon or California—skateboarding’s de facto capital—where he became a professional skateboarder, but it was in the Five Boroughs of New York, where he found himself, while nursing a serious injury. That unspoken power, hidden on every block how NYC became the apple of his eye.
At only 26-years-old, Herrington’s body of work has already proved that you don’t have to be from the East Coast to be an East Coast Skateboarder, just as you don’t have to be born in NYC, to be a New Yorker. And most importantly, in a city that’s constantly changing, there are infinite opportunities to do something new, every time you leave your doorstep.
If you’d seen his Static IV part or his skating in Pontus Alv’s most recent skate film, I like it here inside my mind, please don’t wake me this time., you’ll immediately understand Herrington’s skateboarding. It taps into the spontaneous freedom that’s made Video Days such a beloved moment in skateboarding, as much as it's a continuation of the street discipline, captured by Dan Wolfe in Eastern Exposure 3: Underachievers. It’s anywhere, anytime, anyhow, and once you embrace that ever-evolving mindset, you can adapt that credo wherever skateboarding takes you. For Herrington, 2015 took him across the world, for the Converse CONS “One Star World Tour,” but it’s the way he taps into New York City’s energy that best displays his power, finesse, and boundless energy. If you’re steeped in East Coast skateboarding, you want to see Ricky Oyola crush the streets of Philadelphia, Bobby Worrest expanding on the history of marble and granite Pulaski in DC, Freddy Gall ripping crusty spots in New Jersey, and Herrington is an extension of that family tree, most firmly rooted in New York.
For some skaters, it takes a while to form who they are. Years are spent building up a foundation, before their personality truly shines through. Limbs need to fully extend, muscles need to rip and reform stronger, and an eye for spots needs to be gained. In many ways, Herrington’s skateboarding is freakishly mature, without attempting to be so. There’s a natural flow to his skating, that, like his personality is never forced. There’s no pretension, just the pure love of riding a skateboard and sharing that commonality with anyone down for the cause. And yes, part of that cause is donuts, because, again, shit just isn’t that serious and it shouldn’t be.
Herrington, along with an entire generation of skateboarders, is part of a shift in the documentation of skating, where every one with a board and a camera can shape what’s seen on their social media accounts. For decades, even the most photographed pros were only depicted in what? 20… 25 photographs a year? That’s a sliver of coverage compared to the real time, always on documentation of today. Part of the soul of “Rose Is the Apple of My Eye,” is stepping back into the essence and preciousness of a filmer and skater, working to create a body of work together—one of purpose and intent, standing as art, not content in the digital world.
This is Aaron Herrington framed through photographer Pep Kim’s eye. Like Herrington, Kim’s not from New York, but something about East Coast skateboarding—the mindset, the lifestyle, the weather, and the purity—infected him six years ago, since leaving his home in Korea. It’s more than photographing a trick, it’s the relationship between the skater, the obstacle, and the one documenting it, which becomes a symbiotic trinity—all parts equal, creating the whole. This is how I want to see skateboarding and this is how i want to see New York, cracks, scars, flaws, and all, because those imperfections equal a perfection that’s best captured and appreciated, rather than explained.
by Anthony Pappalardo
The master of the underground skate scene, Creator of the wierdess brand, Polar Skate Co.
What have you been up to these days?
My life is just working on the company, taking care of all the things everyday – from production to graphics, team, filming and everything that you can imagine.
Are you working on any new stuff lately?
Yeah, we are working on some video and we’re finding some time to edit it. I have so much work all the time with the production so it’s hard to find time to edit the film. We’re done filming pretty much by now. We just need time to put it together. It will probably be our full or half length video, I don’t know, we’ll see along the way how it will turn out. So yeah, it will come out this fall in September or October but I’m just going to take my time to work on it and not just mess it up. It’s a very important piece. I want it to be a really special one and unique, so it’s going to take some time for sure.
How would you describe you arts?
I don’t know what you’re thinking about specifically because they are all different. Some of them are photographic and some of them are illustration, painting. We don’t really have a big master plan to do the stuff. We just go with the feeling so when it feels good then it’ll look good, if it’s right or if it’s funny or not. It’s very spontaneous. We just produce stuff and try to make the best of it. I mean, there isn’t some deep meaning, but sometimes there is. It really depends on the graphics. Some stuff is just funny or looks good. It’s not like some deep process. To describe my art, the graphics I do, I do them just for fun. I just like doing them. I’m not a graphic designer or a painter. I just mess around and try to make it.
Is there any inspiration from the art side of skateboarding?
Yeah, of course. We’re inspired a lot by the old master in the skate history: all the Old Bones, Santa Cruz, Powell stuffs, all the stuff from the 80s and early 90s. There was some really amazing artwork being produced then and of course, the time of skateboarding means a lot to us and sometimes we find inspirations in it, create our own twist and do our
own things with it. The main inspiration is some skating from my childhood memories, late 80s or early 90s stuff that we’re into or I’m really into. For me, it’s my childhood, so we’re just creating our own things and everyone is developing their own ideas. We also find inspiration anywhere. It’s like where you can find anything in life – walking down the streets, seeing other things, travelling or just hanging out with the team rider, anywhere that we’ve travelled and what we usually do.
Do you give art direction to your artist/rider who worked on the art or is it by individual creativity?
For sure. Like, sometimes the riders have their own ideas and creativity that they would like to see on their graphics, or sometimes they don’t have any ideas so we try to come up something for them. We’ll just do stuff and show them if they like it and most of the time they will like the things that we’ve done for them. It just works out in a natural way and yeah, if we don’t like it we don’t produce it. So, it’s a mix.
Was starting POLAR base on a long time reflection, a dream for you to run your own skateboarding company?
It’s every skater’s dream and for me too. I’ve been involved in skateboarding for 27 years. I’ve done so many different things, from projects to video and films, being part of a team and whatnot, and of course what else am I going to do. Like, I’ve produced my own film and I was a pro-skater and all these things. It’s my last chance is to run and create some- thing of my own. Put all my ideas to it and my vision. Create a team and video, create a full circle with all the knowledge and show my vision of skateboarding and the world, so this is what comes out and that is what you guys are seeing. It has always been a little bit of a dream, and also a challenge trying to create something new. Many years of skate- boarding can be pretty boring: I wanted to make skateboarding fun again. I think a lot of people get inspired and they start doing their own things and now, I think skateboarding is nice again, a lot of new energy in the industries, new brands, new people are all doing cool stuffs and these are great times.
What do you look into from someone to ride for Polar?
Relationship starts from everything like skating and hanging out to making sure they are cool guy. The person has to be someone you want to hang out with – great personality – and of course, the skating has to be cool and interesting. Yeah, so it’s all about originality, great personal- ity, great creativity, and having your own style. It should be also possible to hang out with the people and the rest of the crew. It’s very important to have unique character.
If you don’t have enough places to skate, the best idea is to build your own spots.
Are you particular with spots that you want to film?
Yeah, the spots are kind of really important. It has to make sense where we ride, so we don’t have spots from like China, Barcelona, L.A., Flor- ida, you know what I mean. I try to film where the guys live or where the guys skate and of course I try to keep things rough and industrial, old rusty-looking. I think it looks more interesting that way. Making a film is not only about the tricks, it’s also about the spots as the spots tell the concept of the whole thing. It’s like, when people feel it then it’ll make sense. It’s not just another random spot from around the world, so it’s important to have ideas on what spots you want to skate and film.
Photos by Nils Svensson
Does that bring you to build your own spots?
Yeah, I’ve been doing that for many years. If you don’t have enough places to skate, the best idea is to build your own spots. If u can’t find it on the streets where you live, then of course you’ll have to start building your visions and ideas.
How long does a spot last, before it gets removed?
Some of them last for a month, some a few years. That you’ll never know, you have to see what will happen, when you build it, you need to skate on it. One can’t have a fix plan on its durability. Sometimes, we need to rebuild it, because there will be fucking people breaking the spots. There might be times in which you’ll have so many problems you’ll have to look after them.
"We really don’t care about the hype, because people are the ones who make the hype."
What makes a brand works well in the market?
I don’t know, because I don’t have a set plan. It’s not that we do it to make it a business; we do it because it’s what we do. We make film, art and skate. This is what we’ve been doing for so long, keep on doing until people are into it and support it. One has to be original, do it’s own thing without copying existing brand, trying to create something new and fresh. There’s no guarantee for this, one will have to create message-like idea or a vision to make people dream. One has to be a lifestyle creator for them in order to join in or to be part of it.
What comes first: hype value or aesthetic?
We really don’t care about the hype, because people are the ones who make the hype. If you do a great job that people like, eventually they will write and tell stories about it. They want to a have the piece of it. Of course, you need to push the culture and aesthetic forward, as well as great ideas, quality skateboarding, videos and products. That’s how you’ll do well in the things you do. The hype will come by itself. It is not on us to create it.
Are you satisfied on how the brand is evolving right now?
When you grow global, every company has issues. There will always be problems with cash flow, money, production, business and distributions. The moment you create a brand, it is impossible or everything to be perfect. Sometimes, having a brand can be a real, very tiring nightmare. Yeah, it’s not easy all the time. There are a lot of things that needs to be done with.
Are you planning to tour Asian market?
Yeah, we are going to Japan this year, featuring Carhartt and Polar. I really like Japan. That’s the only thing I have in mind for this year. It’s quite expensive to travel in Asia with the team, considering our company’s budget in order to travel around, say China or else in Asia. We only had the opportunity to go to Japan.
Also, we’re doing collaboration with Carhartt this year, which is already done and is about to be released this fall. Surely, that’s going to be fun. Of course, if there are some sponsor opportunities, we will defi- nitely be in other part of Asia.
Interview by Taufek Asmarak (Waxfeather Magazine, Issue 02)
Independent film-based skateboard magazine, Waxfeather launches its 5th issue over the weekend with an exhibition featuring all unseen film photography from Taufek Asmarak, Richard Hart, Shingo Goya, Dominic Palarchio, Sam Roberts and Rafael Gonzalez.
The first of its kind, the skateboard photography exhibition was fully operated and organise by local skateboarder, Taufek Asmarak in its aim to knit the underground skateboarding community, preserving its art and print culture in the impermanent digital world.
The exhibition also premiered two skate videos - “You do the Caption” by Quit KL, edited by Tep Yorke and local ripper, Amrien Karia’s “Blue Soul” full part edited by Angelo Garcia.
Supported by Vans Singapore and Skate SG
Photos by Taufek Asmarak & Nin Jim Bacalso
In pursuit of keeping the connection of creating and skateboarding align; Waxfeather was established in 2012 to document raw skateboarding film photography and embezzle itself in the almost extinct culture of print media.
Fully operated by local skateboarder / skate photographer Taufek Asmarak, Waxfeather features film photography by contributors from across the globe. In its quest to keep the passion alive and aims to knit the underground skateboarding community together, preserve its art and print culture in the impermanent digital world.
To commemorate its 5th printed issue, Waxfeather will be holding an official launch and photo exhibition, showcasing selected work from the likes of Richard Hart, Sam Roberts, Rafael Gonzalez, Shingo Goya, Dominic Palarchio and Taufek Asmarak. The exhibition lies in the central idea of bonding creative communities within the skateboarding culture – providing a platform, encouraging skateboarders to come forth, sharing and exchanging creative perspectives.
There will also be a premier of local Singapore skateboarder Khai Amrien’s full part (Blue Soul), together with artwork / photography from Kuala Lumpur’s notorious crew Quit KL presented by Tep Yorke.
Come and join us on the event opening which is on 4th June 2016 at The Substation Gallery.