#09 Ed Templeton / Artist,Photographer and Skateboarder

Collaboration and close interaction with artists and creators is a special and important time that allows you to face creativity seriously. Empathize with their positive pride and mentality, and listen to their voices. By delivering it to many people, WIND AND SEA is constantly evolving.

 

For #09, we speak with Ed Templeton—an artist who began his career as a skateboarder, and whose work spans graphics, artwork, and photography. Rather than being defined by a single title, he continues to move freely across disciplines. We asked him about his 33-year-old skateboard brand Toy Machine, as well as his own art practice, and what he values as he works between these two worlds—where the boundaries sometimes blur.

My interest in skateboarding
has never changed.
What draws me in is always the underground.

 I spent most of my teenage years making art and skateboarding. I started skateboarding in 1985 and turned pro in 1990 when I was 18. In 1993, I started the skateboard brand Toy Machine, and around that time I also began exhibiting my work in galleries. I met my wife Deanna in 1986, and we got married in 1991.

 

I had left my longtime sponsor New Deal in 1992 and started a company with Mike Vallely called Television. But it fell apart quickly. So I had no job and no sponsor. I tried forming a company with many people, but it was a tough time in skateboarding. I had many ideas and other skaters that wanted to be sponsored by me. Finally I found a financial backer in 1993 and started Toy Machine, but soon switched into a partnership with Tod Swank in 1994. And we still work together today.

The brand is now entering its 33rd year. Looking back, the philosophy hasn’t really changed. Of course, the members have changed over time, and I’ve learned a lot, so I think the artwork has improved. Practice makes perfect. But the core of the brand remains the same—we care about creativity, art, and skateboarding. We poke fun at big corporations and stand for progressive values. At the same time, we don’t take things too seriously. We just enjoy skateboarding for what it is.

 

I see my personal work—painting and photography—as something completely different from the graphics and illustrations I create for Toy Machine. A lot of people come to my exhibitions expecting to see Toy Machine characters or drawings, but they’re often surprised by the street photography and paintings about suburban life. Still, many of the same ideas run through both. What matters to me is staying unique and independent. That’s why originality is important. I’ve continued making hand-drawn work, and I don’t really like relying on computers. That handmade aspect is what keeps things original.

Skateboarding has become more mainstream—it’s now an Olympic sport and broadcast around the world—but I still think it continues to expand in new directions. I don’t skate as much as I used to, but my interest hasn’t changed at all. I love watching great skateboarding, and I love seeing and making interesting board graphics. What I’m most interested in is still the underground—the part that connects back to my roots.

 

I think my photography has also continued to evolve. When you keep doing the same thing over many years, your vision becomes clearer and your skills improve. Sometimes you fall into repetition, or change your equipment, but the way you see the world—and how you capture moments—hopefully becomes more poetic over time.

 

 

I don’t follow fleeting trends.
Staying true to my roots
and sharing the work, I’ll be ok.

These days, I spend most of my time at home with Deanna, in the studio or darkroom. I’m making work for the brand and for myself, and every day still feels like a new challenge. When I have deadlines for graphics, I’m busy drawing, scanning, and preparing artwork. On other days, I’m in the garage working on drawings. When we travel, we like to stay abroad for longer periods and take photographs.

 

I try to visit Japan as often as possible—ideally once a year. Each time, I travel to places I haven’t been before and spend time walking and taking photos. People in Japan are very kind and friendly, and because there’s a strong camera culture, no one really minds when you’re taking pictures. There are also so many great galleries and bookstores. The colors, design, and style in Japan have definitely influenced my work. As someone from the U.S., where things can feel chaotic, I find the politeness and sense of order in Japan really refreshing. I also love the quietness. Wherever I go, I get completely absorbed in photographing people and everyday life.

 

Maybe my political views and my roots in street culture have kept me from becoming too mainstream—or at least from standing out more than I could have. Or maybe it’s because I work across so many different things—graphics, painting, photography—that it’s harder for people to understand where I’m coming from. With Toy Machine, I’ve always liked that we’ve stayed a “big small company, and a small big company.” Supported by dedicated fans, but never becoming the biggest—always somewhere in between. We’ve just stayed true to our roots. I keep moving forward step by step. I’m not interested in being a flash in the pan or following trends. Maybe I’ll never be as big as friends like KAWS or Barry McGee, but as long as I can keep making my work and sharing it with the world, I’ll be ok.

 

Founder of TOYMACHINE
Ed Templeton