HIGH ART

Photo by Wig Worland

From threatening reprobates to respected artists, The Side Effects of Urethane are taking skateboarding's popular image and turning it on its head.

Words by Helen Gilchrist

(First published in Stranger 011 - August 2006)

"Skateboarding is creative. Most physical sports are about winning; skateboarding is not. More people need to understand that skateboarding is not just a physical activity, but a form of creativity that grows from the environment it exists in. Just like any form of creativity - like art, each person has a unique style and view on tricks."

Rich Holland is explaining the concept that drives The Side Effects of Urethane (TSEOU) collective, whose skateable sculptures blend physical enjoyment with visual pleasure. If you happen to skate, you'll be screaming to drop in on one of these; but even if you're 70 years old and have never skated in your life, it would be difficult not to be impressed and intrigued by the splendour of its smooth, flowing, organic curves and the sheer scale of the thing.

TSEOU's exhibitions engage in a dialogue about the use of urban space, the roots of skateboarding and the diversity of skate culture today. Their 'Aalto' exhibition in Finland earlier this year was also the first time in history that skateboarding was allowed inside a museum - a far cry from the stereotype lurking in mainstream culture of mindless thugs running down your grandma in the street.

Photo by Wig Worland

The 'Aalto' sculpture reflects the natural shape of a wave, but is brought into focus for the use of skateboarding. "It's also an obvious nod to skateboarding's surf history [the word 'Aalto' means wave in Finnish], as such a piece has never been created," explains Rich.

TSEOU was conceived by two skaters; illustrator Marcus Oakley (this issue's cover artist), and Toby Shuall (owner of Surburban Bliss clothing). Rich Holland and Pin, a skater and carpenter from Penzance ("chief psychopathic carpenter", as Marcus Oakley calls him endearingly), came in on a production design level. Says Rich: "This was a real organic process as we all wanted to create an environment that was completely unique and unconventional, and a more unique look in the world in which we existed."

Photo by Wig Worland

What really seizes your imagination when contemplating a TSEOU installation, be it in a modern art museum or the Architecture Foundation's Yard, is the juxtaposition of skateboarding's urban, gritty and belligerent popular image within an institution of high culture - not your most natural bedfellows. But nonetheless, conventional cultural organisations are finally opening their minds and eyes to the incredible talents moving within this subculture; an eclectic mix of talented photographers, graphic artists, product designers, filmmakers, journalists and writers, with one common passion: skateboarding.

Photo by Wig Worland

So what else is in the pipeline for TSEOU? With five successful exhibitions under their belts, they've garnered a huge following and made a highly credible name for themselves in the modern art and skateboarding worlds. But far be it for them to rest on their skate decks. They're working on a new show, Rich would love to work with the Tate, and we're also trying to lure them to do something in Kernow at some point. Watch this space - and theirs.

www.tseou.com

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