Mar 9, 2020
seen from France
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Ring, ring, message incoming: get yourself a 90 minutes treat of sophisticated techy beep beep mixed by Pager Record’s own Phil Evans, recorded at a club night presented by Hakoya in Tokyo two weeks ago.
Please also note the fine artwork provided by Dopiliensi-Nad — an excerpt taken from „BUT IN THE META TOWN NO.“ as featured on TISSUE online.
At the ForeFront - Films about skateboarding ‘artists’
I would like to discuss two films that I think are the closest thing there is to WeCanFly: Format Perspective by Phil Evans and Rolling: without footage its fiction by Rohum Portahmasbi.
Format Perpective was released in 2011 and like WeCanFly is constructed in ‘parts’ focusing on 6 Skateboarding photographers from the UK and Europe. Also similar to WeCanFly Format Perspective is more than just a film. It becomes an interactive experience through different platforms. There is a website http://www.formatperspective.com which includes trailers and snippets of the film.
Screen grab from the Format Perspective website
Also on the website are sections of the featured artists work and their profile. I really like this feature and think that I will produce a similar feature for WecanFly
Screen Grab of an artist profile page on the Format Perspective Website.
The whole film is available on a Vimeo Download or on DVD. The DVD comes as part of a book which also features the work of the photographers featured in the film. This is a really nice format to have as it put as much importance on the featured photographers as it does the film and I really appreciate this balance. Another exciting interactive element is the DVD menu which allows you to navigate through the skate photographer parts or chose to watch the film as a whole. The film is structured in these parts and unlike WeCanFly the elements to not combine with each other. This works well because the focus is on the photographers themselves and not the idea of skateboard photography as a broader topic. The parts are linked through skate parts that become unique through Evans use of Super 8 film throughout the films entirety. Evans justifies his use of the old school aesthetic in the book that accompanies the DVD “the gritty,grainy old Super 8 seemed like the perfect counterpoint to the nicely lit photos; it emphasised the photography while also showing what was going on behind the lens” (Evans, P 2011). This is true and when you watch the film you really do get the contrast between the still of the featured artist work, the skateboarding itself and the ‘behind the scenes’ portrait of the photographers at the centre of this film.
The second film I want to discuss is about skateboard filmers. It is a contentious choice to place at the forefront as it is directed by an ex student that I taught from 2012-14. Rohum Portuamasbi’s Rolling started life as a university project and It was a 5 minute film. Rohum filmed in LA and the UK for this project and got so much footage that he decided after University he would take this project a step further. Rolling focuses on the role and experiences of skateboard filmers and although it features some key characters including Ty Evans and Henry Edwards Woods it is predominantly about the action itself rather than these people. That said the film gives an passionate insight into the life of a skateboard filmer alongside some debate about aesthetics and technology. Opposing Format Perspective’s old school grittiness, Rolling celebrates the high budget, HD side of skate boarding film. Shot itself on a RED digital, sheen and quality are imminent in this film throughout.
Rolling premiered on Friday 14th July at the House Of Vans which in itself tells you about it kudos as a skateboarding film. It is also due to be screened at The Berics in LA later this month.
Rohum at the Rolling Premier at The House Of Vans - Picture by Kelli Watson
Both Rolling and Format Perspective focus on skateboard media. Format Perspective also features the interactive elements that WeCanFly does. So how does my film differ from these? Firstly, the film is based on skater artist in a way that combines what Rolling does with what Format Perspective achieves. I use the artists themselves as central parts of the narrative but the film is not solely about these artists - rather the subject of how creativity and skateboarding link. There are section in WeCanFly which focus on the artists but these are in the interactive version. In regards to aesthetics my film sits somewhere between Evans’ low-tech a Poutahmasbi’s high definition.
I had some feedback from a colleague who early on in this project asked why I wasn't focusing on skate video or photography (considering, i teach these things). My response was that I wanted to explore a breadth of artistic expression to investigate whether creativity was inherent to skateboarders. My film has a totally different aim to these examples and has a more abstract concept. That said both Rolling and Format Perspective are highly influential and watching them both supports my theories about creativity and skateboarding and reinforces the ideal that this is a worth while and interesting subject to be explored.
Sources
Website Screen Grabs http://www.formatperspective.com
Rohum Portahmasbi image - By Kelli Watson (14-7-17)
Evans, P (2011) - Format Perspective [DVD and Book] published by Work in progress GmbH (2011)
Papercuts (2016) - Phil Evans
Phil Evens.
Papercuts (2016) is a short film created on Super 8mm film with various frame rates and paper stocks. It includes a mixture of live action and animation. The effect is a retro montage that combines rotascoping, texture and standard skate editing techniques.
Format Perspective (2011) - Phil Evans
Phil Evans is a skateboarder from a town South of Dublin. He has a unique and distinguishable filming aesthetic with the common thread of aged 8mm film techniques combined with Lomokino, Super 8, HD and illustrations. His project Format Perspective (2011), features an investigation into skateboarding photography. It features the work of six European skate photographers. It is “filmed completely on super 8 film, this project gives a behind-the-scenes look at the skating that these guys like to shoot, as well as the resulting photos that emerge from these sessions” (Pups, A 2011).
Phil Evans work inspires me because it combines an integral artistic flair in the way that it is filmed and edited. His aesthetics is unique an in regards to WeCanFly inspires the way that I envisage my film looking. The fact that Evans has made a film about photography and skateboarding fits with the subject matter of WeCanFly. Discovering Phil Evan’s films this far into my own project is interesting as although I feel that I have developed my own aesthetic, Evan’s work takes it to the next level and inspires me to experiment with using animation. I have thus far created the sense of shooting on old film using digital techniques but would love to experiment with Super 8 and Lomokino in the future.
Sources
Chapman,C (2017) This animated short is like living in a Skate Zine, Creators, Vice https://creators.vice.com/en_uk/article/phil-evans-animated-short-skate-zine [accessed 22-5-17]
'Light is Light' by Phil Evans, Sidewalk Magazine issue 229 https://sidewalkmag.com/skateboard-news/light-is-light-by-phil-evans-with-collins-stankovic-zwijsen.html [Accessed 22-5-17]
Pups, A (2011), About Format Perspective http://www.formatperspective.com/about.html [accessed 22-5-17]
@pagerrecords #boys @markussommer92 & #philevans playin the earlee morning hours at our #dawn event this weekend! killer set from these two guys...
The No Comply Network is a "skate lifestyle creative agency network". Founder and coordinator Jason Caines created the network in order to represent the collaborations in skateboarding, art, music & film and to address the disconnection between big brands and commerciality and the artists and the alternative media who are at the heart of skate culture.
I am interested in Jason Caines’ project because it recognises the links between skateboarding and art and celebrates the ideological and creative nature of the culture. On their Facebook page they profile their members who are ‘skateboard artists’, giving them publicity but also allowing others insight into other creatives in the skateboarding community.
The latest 'NCN' profile is of Phil Evans: a skateboarder and filmmaker/ photographer and illustrator based in Malmo, Sweden. In his bio, Evans states: “Skating traditionally attracted weirdos and it also attracted people who produce unorthodox material. Skate culture can be fussy, if something is not authentic it doesn’t really last too long or gets called out, so there seems to be an unspoken standard that exists in the culture” (Evans, P 2015).This statement hits the nail on the head when it comes to my findings and understanding of skateboardings relationship with Art. "The No Comply Network" is all about the authentic, the alternative, the original and most importantly the non commercial creative integrity of skate-art and this philosophical idealism is the centre of the culture
Jason Caines | Tre Flip, Birmingham | Photo: CJ
Sources
Facebook - The No Comply Network Page https://www.facebook.com/nocomplynetwork/ [accessed 19-12-15]
Picture source - The Daily Grind "Catching Up With Jason Caines" (Aug 2014)http://www.idealbirmingham.co.uk/blogs/the-daily-grind/15012197-catching-up-with-jason-caines [accessed 19-12-15
Muffinslap's first radio interview