- WHAT IS THE FONT ED TEMPLETON ALWAYS DRAWS SKIN
- WHAT IS THE FONT ED TEMPLETON ALWAYS DRAWS FULL
- WHAT IS THE FONT ED TEMPLETON ALWAYS DRAWS PRO
So much of those texts say absolutely nothing. I try to control the press releases and statements about my work so they don't sound ridiculous. In my book "Cemetery Of Reason" there are three essays, and a famous French art historian named Jean-François Chevrier was kind enough to write one. I feel like writing about my work has been pretty straightforward. Have you ever read commentary or heard something about your work that was completely ridiculous/pretentious? It's no secret that the art world likes to read into things and sometimes over-intellectualize them. That means it's good for more than one reason. It's really good when you make a painting or photo that works on many levels. And there are many levels on which a photo or painting can work. I can know if something works for me by comparing or building on what I have seen. Each absorption of a great photograph seeps into your own brain and helps you shoot better, or helps you know what you don't want to do.Īnd then, when you are looking at your work. In photography, I feel like I have trained my eye to know what a good photograph is through looking at so many photo books and seeing so many exhibitions. I believe in the school of looking and learning from books, museums and galleries. What is it that makes something you've created "work" to you personally? It has stopped me from getting into the studio to paint so far, but I think I'll get back in there pretty soon. Even if I'm only able to roll around, I will be doing it as long as I can. I don't think I will ever not be a skateboarder.
WHAT IS THE FONT ED TEMPLETON ALWAYS DRAWS PRO
So I don't know yet what my future as a pro skateboarder will be. I'm 40, so it's not like I have a big skate career to return to, and I have lots of other things to do. My doctor said a year at least, and even then he said my mobility will be limited because of the length of the plates they go over those round ankle bones and will limit my range of motion, I'm told. It will be a while before I can walk normal again, and who knows when I can try to skate. In March 2013, I should be able to put 100 percent pressure on it, but that will be just the tip of the rehab iceberg. Two plates and 21 screws later, I was at home and prescribed 10 weeks of putting absolutely no pressure on the leg. At the hospital I found out that both my tibia and fibula bones were "shattered" and would need surgery.
WHAT IS THE FONT ED TEMPLETON ALWAYS DRAWS SKIN
When the paramedics came and cut my pants open, they could see the bone sticking out of the skin and the blood pouring out. I was simply doing a nosegrind across a flat bar on top of a pyramid when I bailed out, I must have put my foot down in a strange way because I heard a horrific POP, and before my body had even hit the ground I knew I broke my leg.
WHAT IS THE FONT ED TEMPLETON ALWAYS DRAWS FULL
Could you tell us about that, your recovery time and how it's impacted your art? Do you see yourself making a full recovery and continuing on with skateboarding?Įd Templeton: I broke my leg on Nov. : You recently suffered a serious injury. caught up with Templeton via e-mail to discuss art, skating and how his career has changed over time.
He recently celebrated the opening of a photography show, titled "Memory Foam," that documents his hometown of Huntington Beach, Calif. Templeton has released several art books and has been shown in prestigious galleries and museums all over the globe. New York City's Alleged Gallery, founded by Aaron Rose, started showing Templeton's work, which eventually enabled many artists to transcend the tag of "skate artist."
During this period, Templeton and a handful of skaters began showing their work outside the context of skateboarding. Toy Machine's ads took on a surreal tone, blending Templeton's satirical sketches with photography of the highest level of skateboarding at the time. Templeton continued to create his own graphics, paint and take photographs after a few attempts at starting a brand, he created Toy Machine in 1993. Templeton didn't view himself as an artist at the time (his first ad jokingly said, "Buy Ed Templeton's board - it's the one with the crappy graphics"), but the Keith Haring-esque image of a cat with a speech bubble exclaiming "Woof!" became an instant classic. Though many of the iconic New Deal graphics were created by co-founder Andy Howell, who himself has pursued a successful art career, Templeton's first board graphic was a standout. New Deal's creative identity fit nicely between the edginess of World Industries and the raw gnarliness of H-Street. His near four-minute part in New Deal's "Useless Wooden Toys" video in 1990 wasn't only important for its level of skating, the entire video filled a void in skateboarding. In the early 1990s, Ed Templeton put the skateboarding world on notice by taking difficult tricks, including the ollie impossible and noseblunt slide, to new heights and obstacles. "Everyday Desires": This is what's possible when Templeton's bum leg doesn't keep him out of the studio.