SURF-ART CULTURE
Surf-art culture has been an evolving mystical medium shaped by generational change that’s influenced by societal shifts in fashion, music, movies, photography, events, surfboards, skate, dream-like locations, spirituality, events, and marketing concepts offering a surreal perspective and vibrancy all of its own.
The culture of surf art can be traced back to the early civilisations of Hawai’i, Peru, and China. The discovery of ancient surf art depicting the Peruvian reed board inscribed on pottery found in caves at Trujillo provided overwhelming evidence that the Peruvians were wave-riding on the Caballito de Totora some 3,000 years ago, pre-Inca by the local Chimu Indigenous race.
As technology evolved from inscribed pottery, so did the sharing of surf culture. Surf magazines presented the perfect platform for establishing illustrative graphics, surf brands, logos, and surf art. As a young gremmie growing up in the ’60s, I was fascinated by John Severson’s Surfer magazine who introduced the great cartoonist of the times, Rick Griffin, the creator of Murphy the Surfie during the Beach Boys era.
When surfing and society took a radical U-turn in the late ’60s, Griffin’s art influenced by the psychedelic generation, from sublime to the surreal, reflected the times had indeed changed. Griffin’s art was more colourful, explosive, even revolutionary to the point he began designing posters for the big gigs around California, including bands like The Doors.
Many of the early artists I have interviewed have been influenced by Griffin’s extraordinary talent, which made me realise how surf mags have played a vital role. Much like another famous cartoonists of the early ’70s Tony Edwards and his emblematic Captain Goodvibes character. Edwards had been an architect who drew on his architectural experience to construct a surfing pig of steel with a rebellious affront that resonates to this day. When I asked why the Captain was so popular, Edwards says unapologetically, “I have no idea!” Vibes was such a radical figure, expressing a “stuff you” attitude to the establishment and would be probably banned by today’s political correctness.
The seventies reflected the change: new companies competing against each other with their own brand of surfing subculture, fuelling the surf-art industry to jump on board and make a statement. Sydney’s Northern Beaches airbrush artists Shane Egan and Martin Worthington
