Back a couple of weeks ago, artist, designer and lover of waves Luke Taaffe had a duo exhibition with Beastman up in Brisbane – and, at the time, I hit him up with a few questions, as per as often as I can whenever I see a cool artist doing a show. As happens though, the man was completely smashed for time, which, between his solo show and finishing of the latest Summer 11 Roxy collection, was completely understandable.

He didn’t forget about it though, and, graciously, as soon as he found the time to do so, he sent an email back – and it was a great reply! I’ve been waiting for a perfect time to put it up since getting it, and that seems to be now, because this guy deserves an amount of undivided attention for the progress, passion, and determination to which he’s applied his creative skills over the past few years …

You grew up on the Central Coast, so obviously surf, sun and sand formed a huge basis behind your influences, but what other things when you were younger turned you towards becoming an artist?

Through Primary & High School, I was fortunate to have teachers that encouraged creativity. The Art Department at Terrigal High School had amazing resources so we could experiment with any medium we liked. I generally enjoyed my time in those classes so the teachers pushed that. As with a lot of those fringe subjects, many students didn’t take it too serious so the ones that did, seemed to take something from it. High School also had a connection with Surfing and Art. Many pro surfers from the 80’s & 90’s went to this school so we were all in tune with the magazines that these older riders were in. In turn, it was the magazines that had the art & graphics on clothes and boards that got me interested in drawing etc.

How about more modern influences? What form of work, and artists general cultural ephemera can you say that you look to when yours looking for inspiration?

I have been inspired by so many different areas of creativity & artists over the years. I loved the graphics of the surf and skate companies in the late 80’s. The graphics on the Powell Peralta and Santa Cruz decks were an eye opener to any grommet. I’m inspired by most of the artists from the Beautiful Losers as well.

Seeing the opening of that show in 2004 in San Francisco blew me away with artists like Margaret Kilgallen, Thomas Campbell and Barry McGee showing. The Edo period from Japan, Cubism and the Bauhaus are so inspiring too, but essentially I am drawn to surfing and the popular culture associated with it. From vintage postcards and patterns on beach umbrellas, to resin tints & typography in beachside signage. ..I  have an affection towards it all.

I think narrowing yourself to one area source of inspiration is unachievable – the work I paint now embodies so many facets of my life, but the coast is at the centre of it all.

You do a lot of work for Roxy/Quiksilver, something of a dream job for a designer who loves to surf – how did you get on board with them and what is a typical design day like?

I heard of a few positions going through Ainslie Fletcher (an incredible artist and designer) ,who I was exhibiting with in Sydney a few years ago … things worked out and I found myself down in the icy waters of Victoria.

In terms of surfing juxtapozed with art, how do you believe the two forms of expression combine? You once said that surfing has special meaning, and is a great escape – do you find combining these two aspects, the visual and physical, just one part of a whole?

They are just one part of the whole, for sure. Both these forms of expression put me in a comfortable zone unlike no other. I’m generally moving 24/7, and some days my mind is super scrambled, but when I take to the waves, or have a brush in my hand, I’m totally relaxed.

Can you tell us a little more about your show in Brisbane, and what you wanted to achieve with it?

It finished the other weekend and I should of had this interview done before it ended! … Sorry, refer back to scrambled minds again! Ha! The show was collaboration of new works between Beastman and myself, titled Brave New Worlds. In similar ways, we explored and interpreted different worlds in our work, some more obscure than others but it’s a common thread we have in our work. For myself, it’s almost a documentation of the surrounding environment I’m living around at the time. All I wanted to achieve with this exhibition was to show to a new audience which was the Brisbane crowd.

Matt & the crew from Nine Lives are doing a great job up there!

You’ve had a long friendship with Beastman, has this influenced, at all, any of your work?

I don’t think we have influenced each other in our artwork as such, but maybe we have motivated each other a bit more in our work. When we all worked out of the Worlds End Studio a few years ago, being amongst a crew of focused and determined artists gave me more drive in my development as a creative.

Artists like Beastman, Trent Whitehead, Ben Frost & Mark Whalen work very hard at what they do, and that rubs off on you to keep developing your style and remain motivated.

How do your exhibition pieces and design work differ, and do you consciously aim to take a different tangent with your more personal work than you do with your commercial output?

My design work differs a lot from my personal work. My work with Roxy/Quiksilver is brand specific and we work on briefs that are developed alongside our team of designers. The designs that are created from these briefs are subjective to a certain level of constructive criticism which is normal in this business. There is also a lot more structure involved in the development/execution of designing for a big surf company than my personal art.

The art I create is a personal journey that no one else can cut up or change, and painting for myself has no boundaries and that’s the biggest difference. Designing for a label has a targeted audience and that in itself has limitations, but my personal work is just that … my personal work. I don’t aim at a certain audience with my art and I think it would defeat the purpose of being a creative artist. My art is for people to enjoy, no matter what demographic or circles they travel in. Making a connection with any buyer through a common feeling or appreciation in my work is one of the most rewarding aspects of being creative.

 Your work has a great flow, patterned, with a lot of movement, and, at times, an illustrative look – but it never looks  constrained by that generic “illustration” feel – can you pin down the most essential rule of thumb for any of the work that you do to avoid illustrative clichés?

Every piece I create has a personal attachment to it. It has a story most of the time that reflects some aspect in my life and I try to place characters as little as possible in my work. I love landscapes and the basis for the majority of my work starts and centers around the ocean and places I live around. The sea has infinite inspiration and is the motivation for a lot of my work. The ocean can be the happiest place to be around or can be your worst nightmare.

No two waves are the same, and no wave I paint is ever identical.

What has been the most challenging design task you’ve been set so far, and what have you done in the past, that you’d love to have a chance to do again?

The most challenging design task is having to manage design, work, art and having a life like finding time for a wave. I’m very random at the best of times so this is hard for me …  but probably the biggest challenge in design is having minimal time to create, design & manage a season of prints and graphics for the brand. Deadlines can be a challenge but that is when your best work comes out!

Something in the past that I would love to do again … probably collaborate more with my friends. Back when we we started getting really creative, maybe 2003, Mark Whalen (Kill Pixie), Trent Whitehead, Ryan Heywood, Nick McCarthur, myself and some other mates put on a few exhibitions that showed our work for the first time. We’ve all gone into our own directions these days, but I’d love to set something up with those guys again.

 
You were there for a while, but now Worlds End Studio has finished up after a fantastic run, most of the artists have all moved on to other equally cool projects and studios – how about yourself? What does the future, after this show, hold for you?

That experience was incredible….Fuck there was such a great vibe in there. Everyone fed of each other like vampires..No walls or boundaries there and a beagle who ran the show! My future lies with designing for Roxy / Quiksilver and working on getting into a major gallery.

I want my art to reach different audiences and circles. Maybe one or two big solos a years would be ideal, that would get me more time in the water!!!! Eventually I want to start a small gallery space at home on the Central Coast which would also be a vintage surf/antique shop … It all costs money, so I’m working on lotto … ha!

Check out Lukes blog for even more info, and for more details on what hes been up to since his solo show (which would involve a lot of surfing, I hope!)