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EDITO O’cloc est un magazine participatif. Il existe pour et par ses lecteurs. Chaque article publié a été séléctionné parmi les centaines publiés sur le blog. Le but de ce magazine est de rester loin de toute censure, influence, ou propagande commerciale. Le bilinguisme est ici un symbole de partage, d’échange et de richesse culturelle nécessaire.


SOMMAIRE Interview:

DÉLIT D’INITIÉS Luc Saucier nous devoile les veritables TURF ONE................X regles de l’art..................................................X JEREMY FISH..........X C’EST TOI L’ART illustration de Jim Krewson.................X,X,X,X MIKE GIANT.............X SHAWN BARBER....X



ÂŤLe voyage est la destinationÂť



TURF ONE (Biography)

Jean Labourdette cultive une approche sculpturale face à la peinture, qui éloigne ses sujets de tout contexte typique en les plongeant au coeur d’un monde fantastique et imprévisible. Ayant une passion pour le graffiti, il travaille principalement avec des objets trouvés. Son style particulier et son rendu immaculé font référence aux primitifs flamands du XVe siècle.  À la fois œuvres gothiques et surréalistes, les saints et les scènes propres à cette époque, ont été remplacés par son entourage, ses collaborateurs et ses muses.  Débordant du cadre traditionnel, les visages de ses sujets sont accompagnés d’un corps et d’un contexte, qui lui est gravé, rouillé, orné et manipulé d’une façon à la fois démesurée et finement détaillée.  Vers la fin des années 1980,

il commence son périple dans les rues de Paris en tant qu’artiste graffiteur reconnu pour ses personnages typiques et surréalistes. Depuis, Labourdette n’a cessé d’évoluer et de se forger une vision esthétique unique à travers des années de création compulsive, faisant de lui un artiste multidisciplinaire prolifique en travaillant à la fois en tant qu’illustrateur, bédéiste, cinéaste et peintre. Jean Labourdette, alias  “Turf One” « Turf One », a su se bâtir une réputation enviable au cours des cinq dernières années.  Il a fait partie de plusieurs expositions, on lui a consacré plusieurs articles dans de prestigieux livres et magazines. Ses oeuvres ont été exposées dans plusieurs galeries à travers le monde, notamment à Paris, New York, San Francisco, Miami, Rome,

Toronto, Montréal et Vancouver. Il a également produit des oeuvres pour des clients tels Sony Music, Universal Music, le Conseil des Arts du Canada, Kanye West, Pound Magazine

et Le Cirque du Soleil.



JEREMY FISH (Interview: Crank) (Photos: Anais Trocherie)

Crank: Now that we have

that installation stuff taken care

of, tell me about the mytho-

logy themes found in your work. Is this something that

comes from your childhood or is it something that you developed as you grew older?

Jeremy: I think it is a little bit of both. My mom was a

teacher, so my sister and I had this ridiculous library of children’s books. During my early childhood we kinda lived in the middle of nowhere so there was not a lot to do but sit around and flip through all these books. Like most guys our age I was raised on Richard Scary and Dr. Suess, all those golden children’s books. I think there is a definite element of that that comes through in

my work, that and the older

cartoons. I will admit that I am not as into reading as I am into watching cartoons or at least when I was little I wasn’t.


C: How did you first get involved in the skateboard industry? J: I got lucky as hell. I went to

give you this job, but you have to be down here in like two days». So I packed my shit and ran down there and that was what kinda opened the door. I was the production manager and we

school in San Francisco and a lot

were still printing boards at that

of the friends I was skating with

point before all the companies

also worked for companies that

went to transfers. That was really

were getting real big back then.

dope. In the past I had done

So anyway, I got a job at a print

a lot of printing from posters to

shop that was doing all the prin-

stickers, to wallpaper, prior to

ting for Deluxe, Slap, Thrasher

getting out of school. Yeah, so

and Think among others. When

through Print-Time I learned a

I was offered this job I was in

little bit more about how board

Portland, and the dude that hired

graphics were done and defini-

me... well his boss just randomly

tely a more professional way of

didn’t come in one day. So my

doing it than what I had learned

friend who was the assistant

on my own. But anyway at that

manager at this place that was

time I was doing little art shows,

taking in big money every week.

in cafes and small galleries, and

This was a big business for a

the guys from these companies

21 year old dude, and all the

would come. So then the guy

sudden his boss just never came

that owned «Think» finally star-

back, the people that owned it

ted to get into what I was doing

were the same owners that star-

and started giving me some

ted the northern california skate-

freelance gigs. Like do a t-shirt

board industry , same guys that

here, a board graphic there, one

started Indy and Thrasher were like here take the rains.

off’s of stuff, and Slap asked me to do a t-shirt, then Thrasher. This was like the first few things I got

They were like «better hire an

to do, but they all did really well

assistant» we’ll see you later.

and they all were really psyched

So he was like, dude I


fucked, he had only been


so eventually the art director at think quit. I guess they were like:

there a year. He knew how the

«the dude in the print


place ran and how to do his job,

is finally doing pretty well so

but he didn’t at that point know

why don’t we pull him out of the

how to be the guy in charge.

printshop»; so they gave me the

So he called me and said «I will

job as an art director. But right

after school there was no way

him and he ended up moving

working in this huge company I

that I could have gotten that job.

to France, to do something that

didn’t really want that exposure

I only got this far because I dug

he had to do. And I supported it

so much, we didn’t care about

myself out of a basement with

because he’s my friend as well

ads. In the beginning I guess i

as my business partner, so at

did. We launched some ads, but

a look at these» or «hey, you

one point he was in France for

the company didn’t really gene-

wanna check these out?» I kinda

like two years and I was kinda

rate sales the way we thought it

got a lot better after I got the job.

holding the reigns. I started the

would from ads. So the ad bud-

I just put more into it as soon as it

brand, but I was never going to

get got pulled like eight months

the «hey you guys wanna take

was a full-time deal.

be like a team manager or

into it. Then there was this part of

a skateboard company owner. I

me thinking, «wow, imagine

wanted to do graphics and make

we can still be selling a thousand

your own underground skate

cool shit and

boards a month just on word of

company «The Unbelievers». I

had no real interest in holding up

mouth.» To me that seemed pret-

have been hearing some nasty

the tent. So all of the executive

ty good, even for small company

rumors about it, so what is the

skateboard company decisions

numbers, those were big. So

became mine and it really started

this dude was like «we’re gonna

C: Then you went on to start

status of «The



J: It’s the Done Believers. It’s

to wear on me. But at that point I was still pretty ok with it and we got an opportunity in the last year

over. I got hung out to dry this

with this other manufacturer and

past spring in this nasty turn of

distributor out of San Diego.

events. We did the company

Same company that was doing

for four years on a paper thin

our heat transfers and they really

budget. I made some people

loved what we were doing. They

some money to pay their mor-

felt that this company could

tgages, while I was still sitting in

be so huge but nobody really

a cold shack with no heat. Scott

knew who we were. But that

had some weird shit happen to

was how I like it, coming from


take you in, give you a solid ad

overseas, but I’m having some

it where it should go, so I just

budget, you can do more soft

trouble with my loans, I think I am

couldn’t do it.

goods, make a video, do a tour.»

going to put the whole thing on

Honestly, the hardest part was

He was basically telling us that

hold for another 6 months or so.»

we could do all the things that

This guy really just hung up the

those guys in that situation of

were just not possible before.

company. If I hadn’t pulled away

looking for a new deal. Sure they

So we got all excited and pulled

from the existing manufacturer

are skateboarders and they are

away from our existing manufac-

I could have kept doing it at the

my friends in the end, but it really

turer, the guy who we had done

pace we were going. I was doing

sucks to have to tell your friend

Borne and

it out of the gate with. Who in my

twenty graphics a year.

«hey your skateboarding career

opinion is a really righteous guy

It was a big strain on my time

is over.» I mean, I was never

and a really awesome craftsman

and even though I wasn’t making

nearly good enough to be a pro

and deadly concerned with the

dick on it. Long story short, we

skateboarder, but because I

quality of his skateboards and his

got fucked.

draw or whatever, I can go on to

reputation, but really could not

So yeah, I e-mailed him back

work for these other skateboard

ad and subtract any better than

and was like: «fuck you, you

I can and I am not the guy who

hung me and my company out

should be running a business.

to dry and I have no interest in

You really need somebody in

continuing to work on this brand

there that can do the math, so

with people who front on money

consequently we pulled away

they don’t have.» This was the

from him while the new manufac-

same problem

turer got his act together.

I had with the first guy. First guy

I was in Taiwan in July and I


Putting Scott

made all these promises when

had half of my catalog finished

we sat down to meet, then a

for the trade show this fall and

year later he denied he ever said

I was ready. Then this dude e-

them. So, I was about to go to

mails me and is like: «hey, sorry

bed with another company that

to lay this on you while you are

still didn’t have the money to take

companies. More so than a pro

after he married this local rock

with him was cool, I actually got

skateboarder who went and did

and roll bad ass named Allison.

to help him design the song.

it, that kinda feels shitty. Scott

So we ended up meeting, and I

I came up with the idea after

went and did it. Scott did what he

am not a big fan of hanging out

coming across a big stack of

did and he did it super well and

with my hero’s. You know how

those Disney records and books.

I think he earned a spot in the

it is, you meet them, they suck,

So I brought them over to his

history of the sport. But does that

then you kinda don’t like what

house and showed him all the

entitle you to a career that will last

they do anymore. We e-mailed

funny things, but I didn’t have

you a lifetime? Probably not, ska-

for a while and I really got the

a record player. So he was like:

teboarding is just not that gene-

feeling he was pretty normal.

«we should fuck with these.

rous and it does provide that

He is not a pretentious guy and

Make a book and a

hard. It won’t provide that hard

he didn’t come off that way so I

that was how it started. Not only

even if you do whore yourself,

was like: «ok’ let’s meet.» At the

was I really able to get to know

unless you are that top 20 dude,

time I really did not realize how

someone who I had always

it’s a tough gig for sure.

similar we were. We both grew

admired but he was also really

up skateboarding. He is from the

like minded and really respectful

Northeast, he’s like a year youn-

of what I was doing. The guy

ger than I am. We had friends

is also really clever. Like he is

that we both knew and hung out

just not a dumb dude, he went

What inspired that and do you

in similar places. We were like

to an art school, he’s a pain-

have any more collaborations

brothers from different mothers,

ter, he can paint. He can even

lined up?

same sorta cultures, but you get

draw better than I can on some

to an age where you take either

levels. Maybe not line oriented

one thing or the other seriously.

character stuff, but he could

C: You recently put out your collaboration with Aesop rock «the next best thing.»

J: Aesop is one of my all time

7».» So

favorite rappers and a mutual

He took music seriously and

friend of ours. I mentioned to him

I took art seriously. It’s not like I

kind of annoying, I hate people

that I was a really huge fan and

never tried to write a rap in my

who are good at everything and

his wife knew my work and liked

life, but it was something that I

he’s is one of those dudes even

it. He moved to San Francisco

wasn’t any good at. But working

though he would never admit

draw you better than I could. It’s


it. But yeah, I am doing his next album cover and packaging, we actually kinda talked about doing the set design for his tour this coming summer. So I could make like giant characters they could fold them up and take them along. Since he doesn’t have a lot of friends in the city, I get lucky and him and his wife take me along to a lot of shows. We saw a show at the Fillmore and he started talking about how you can’t just have a banner and a DJ

anymore so hopeful-

ly something good will come out of it. I can honestly say this next record is the best thing he has ever done. I was really scared because San Francisco is not a sad or gloomy place. His music is sad and gloomy, in a way he can find the ugly beauty in the dirty urban side of life. Living in San Francisco, I was thinking to myself that this is going to be the «Bambi-est» album you ever make. So when he handed me this record done I was still kinda scared but I really love every song on it except one which is his favorite. But seriously it’s the best thing he’s ever done and I am stoked to be a part of it.

C: Do you have plans of doing a lot more commercial work or are you focusing on painting?


J: No, I like to keep a steady

the idea for the Big Stupid and

balance. I don’t really just want to

any chance for a Cameo?

work off of gallery work. I like to

J: I did the Big Stupid for three

do the commercial stuff because it trains me to think in a way that I might not otherwise. It pays better and sometimes I even have a better relationship with my clients. Sure I do get ripped off and jerked around by some of these corporations and sure it gets frustrating. So there are those times when I think I should just do fine art, but then at the end of the day even galleries will be like this brown one sells really well but the blue ones don’t. So could you please do more of the

years and Mark Whiteley, the

editor of Slap, gave me complete creative freedom. Mark is one of my all time favorite people and at the time I really needed it. I have been given so many great

opportunities as a result of «the

Big Stupid». It was funny because they were like: «We

want you to do a comic». I never read comics growing up, I never had any real exposure to comic books growing up, so I looked through a bunch of comic books

brown ones. Yes, I am calling

and was like: «I can’t do a co-

lery money or commercial

do comics tries to do comics,

the shots, but whether it’s gal-

mic.» If think if a guy who doesn’t

money, somebody always wants

the guys who really do comics

to grab the wheel and steer it for me. I don’t bend much, but in a commercial work I try to be flexible. I do understand that this is my job and I don’t want to think it will only last a few more years so I try to bend as much as I can, without feeling like I am being

will look at your work and know that you don’t do comics and just think you’re a prick. So I was like: «how about I just draw two pages every month.» They were like: «what, we are just going to print drawings that you did». I had some ideas about doing col-


laborations early on, but I didn’t

C: I first started seeing your work in «Slap Magazine» in 2002. It became

because I figure these guys are

something of a staple in «Slap» for a few years then I just stopped seeing it. What happened and where did you come up with

put it into effect for a long time not going to know who I am. If I am e-mailing my heroes I wanna have enough of these done so they can see it and know what

it is. anyway, like $300.00 a month or something.»



MIKE GIANT (Interview: Crank) (Photos: Anais Trocherie)


I definitely see a lot of influence specifically on your tattoo flash sets which seem to pull directly from New Mexico, for instance ‘NM’ on tattooed prisoners, ‘Burque’ (Albuquerque) blasted onto different Hinas and the New Mexican flag here and there. I know you were born in Upstate New York, so when did you end up in New Mexico and ?


My family moved to


in 1979. They were seeking a better climate and the adventure of a new place to raise .

sister and I

why is so much of your



laced with

Catholicism and the Hispanic culture? Myself, I’ve always been drawn to the mystery and beautiful imagery


Catholicism and the Latin culturehaving been raised by a Catholic mother with parents both born in East.

L.A., what brought about such a taste in you?

I grew up Roman Catholic. As a teenager my parents allowed me to choose to be confirmed or not, and I chose not to. I wasn’t buying it. Regardless, it’s . The Christian morality code was instilled in me early. I feel like a lot of my practice has been about unlearning a lot of my Catholic programming.

my roots



is in San Francisco, is this where you reside now? I know the

Also, how did the jump from Albuquerque land you all the way over in San Francisco?

I moved from

Albuquerque to San Francisco in



to work for

Skateboards. That’s the thing that really brought me out here the for the first time. I stayed in the Bay Area for , did some traveling and ended up back in ‘Burque in 2003. Then a few years ago I moved back to San Francisco. Of anywhere I’ve been in the world, San Francisco

10 years

really feels like home!

Tattooed How

old were you when you your first person?

What was the tattoo of ?

myself first

I tattoo’d . Then I tattoo’d my buddy Kodik Joe. I think he got a ‘Kodik’ piece wrapped around his lower leg with a devil character and some flames. I think I was 27 at the time. Geez, all of my previous questions have been focused on your tattoos and fine art. What came first? Tattoos or graffiti? I am thinking

graffiti, no?


I started in 1989 and got my first tattoo in 1991. I think I was interested in cholo tattoos before I got exposed to the graffiti

writing culture.

Who dead or alive you?



The historical and Siddhartha Gautama is certainly an inspirational figure. Other ancient inspirational figures include Jesus Christ and his wife Mary Magdalene, Angulimala and Milarepa. More contemporary figures include Thich Nhat Hanh, Noah Levine and Alex Grey. In the end, I think I have to go with . His achievements and influence are indisputable, regardless of the stupid fashion shit.

Don Ed Hardy Who is your

favorite artist?

In general, I guess I’d say

Charles Burns. How long have you been utilizing the

pencil/Sharpie technique? It is so simple in regards to what little you are working with yet so, so tedious. It pops so well! How many Sharpies do you go through a day literally? It’s only natural that they let you have your own pen!


On days that I ink all day I might go through one or two Sharpies. It all depends. I’ve been working with

Sharpies since I started writing

graffiti in 1989. It was my ‘go-to pen’ for blackbook drawings and it just stuck. I definitely own a few myself. Thanks Joshy!

Speaking of blackbooks, it’s too bad that you didn’t have the chance to make it to this year’s Black Book Sessions 8 over at Killer Distribution. A lot of your friends and associates were there. You would have had your very own wall





SHAWN BARBER (Biography)

S h a w n Barber’s body of

work focuses primarily on painting, portraiture, and documenting contemporary tattoo culture. Barbers intimate renditions of tattooed individuals balance both meticulous brush strokes and loose energy. Figurative in nature, these large paintings take on abstractions with explosive colors, meandering lines and paint dripping down the canvas. Barber earned his B.F.A from

Ringling College of


in 1999 and has paintings held in private collections throughout the United States, Canada, Asia, Europe and Australia. His paintings have been exhibited in diverse solo and group venues including: Joshua Liner Gallery, NYC, NY; Billy Shire Fine Arts, San Francisco,

CA; Mesa

Contemporary Arts Center, Mesa, AZ; University of Houston, Houston, TX. His first published book of art titled ‘Tattooed Portraits’ was published by 9mm Books in March of 2006, followed by his second tome, ‘Forever and Ever’, a 256 page hardcover book dedicated to the Tattooed Portraits Series. Among his extensive achievements, he has taught drawing, painting and the business of art for 10 years at various art schools throughout the country. After years of documenting the art of tattoo, it was a logical progression to pick up the tattoo machine and add tattooist to his resume. When he is not traveling or painting, he can be found working at Memoir Tattoo in Los Angeles, CA.

Related News: Shawn Barber Artist Lecture at (February 16, 2011) Summer Group Exhibition Opening Photos (August 17, 2010) Shawn Barber “Tattooed Portraits: Chronicle” Opening Photos (April 30, 2010) Miami 2009 (December 15, 2009) Summer Group Exhibition opening reception (August 19, 2009) Shawn Barber interview on



Fecal Face

(February 12, 2009) Gallery artist Shawn Barber featured on the cover of

The Wall Street Journal (January 27, 2009)



fanzine by Crank.