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DOGPISS MAGAZINE ISSUE 8 COVER PHOTOGRAPH:
CLEVER RYAN TEXAS PLANT DEAN LANE
BY BEN HAIZELDEN assisted by Jordan Lightowler
EDITED BY BEN HAIZELDEN
CONTENTS AN HOUR AND A HALF WITH RYAN PRICE DAME EMILY DURING COVID-19 BY BEN HAIZELDEN M32 BUILDERS GEORGE NEWMAN ARTIST FEATURE OTIS HARDING-HILL INTERVIEW ALEC MORTON PHOTOGRAPHER FEATURE DAVE GOATLEY ARTIST FEATURE THE STRANGEST PET ON EARTHS POEM BY BRUCE MCCLURE ILLUSTRATED BY HENRY SWAMPY MOORE SCULTOR ALICE JENNINGS INTERVIEWED BY MATT LIGHT A COUNRTY MILE BY TIM SMITH & JOSH WHITEHEAD
LIEN FASTPLANT
AN HOUR AND A HALF WITH CLEVER RYAN. (RYAN PRICE)
PHOTOGRAPHS AND INTERVIEW BY BEN HAIZELDEN THE PHOTOGRAPHS FEATURED WERE SHOT ONE SATURDAY MORNING EARLY THIS AUGUST.
So Clev, whats the best part about skating Dean Lane?
Everything.
You've definitely pushed the limits of what's been done here. Anything tricks you're particularly proud of? And are any that got away?
.
I’m stoked i managed to do the nosepick 270 yank in to fakie, never wanna do it again haha
Any tricks you're working on here? Or would you prefer to keep that under your hat?
I never really plan any tricks for deaner, it kinda just happens when the session is going off.
What's the best session you've ever been involved with here?
Every deaner fun day sesh! Especially the one thrasher came, it was nuts to see how raven and grant skated it
.
Who skates the bowl /lower section of the park best. You can name a few if you can't pick anyone out?
All the locals skate it so well! Loved watching Habgood skate it though! At the moment Baz absolutely smashes it down there! Alway good seeing Sox, Thackeray and Beckett aswell.
We all know that the Deaner is the best park in the world. What's the second best?
I love Bath deep end.
Any advice for people new to skating the Deaner?
Watch out for the glass, still trying to dig glass out my hand at the moment.
Thanks for taking the time to chat. Any last words?
Love you Baz.
DAME EMILY PARK DURING COVID-19 PHOTOGRAPHS BY BEN HAIZELDEN
The photographs presented here aren't meant to be any sort of deďŹ nite document to the happenings at Dean Lane, they were taking during a two month preiod a month after lockdown commenced on 16th March 2020. There's some glaring omissions when it comes to covering the denizens of The Deaner, and for that I apologise. The images are simply a collection of photographs I took there since lockdown. After some time away from shooting ďŹ lm I decided now was the time to dust off my old developing tanks from university and start a little project at Dame Emily.
RAFF
I spent a few months shooting as much as could with my old Nikon, Leica and Rolleifex cameras and processed my films in the kitchen as I went. It was a great way to stay postive during lockdown, and to realise how much more I like shooting film than digital. Anyway, I guess I just wanted to take some time to make some photographs of a place I dearly love; and the people that live there whilst also restoking the fires of my unending passion, photography.
BEAR
THEO NEWTON
CHARLIE PURSE
RAFF
JORDAN
FINBAR
LUCIEN
BAZ DAN
DAVE PLEWS
CADLE
BILLY
DIRTY RATS & BRUVVERS
TOM
ILLUSTRATOR:
GEORGE NEWMAN
instagram@gewman
PHOTOGRAPHER:
ALEC MORTON instagram@fallic_moron
M32 SKATE PARK BUILDERS INTERVIEW AND PHOTOGRAPHS BY BEN HAIZELDEN with Stew Paton, Rico Dorante, Tim Hill & Tim Bartelot So gentlemen, anybody care to tell us how this all started? Were you guys the first to start building down the M32?
Stew Paton: Phil Parker was the first person to lay any concrete, before that people skated there and some bladers had put in a rail which we borrowed to build the long quarter.
Who’s been involved past and present to getting the park to where it is now?
Rico: There’s a solid group of 5-6 skaters building, sort of, regularly… Stu Patton, Tim Hill, Joe Hill, Tim Bartelot, Dave Goatley and i…?? …but loads of people helped us along the way… Liam (Easton local skater) has been helping with the new quarter/hip thing… Ron’s helped with the wooden mini ramps we had before and he also sorted a lot of the guttering system, Tom Mansfield’s always helping us with the metal work and welding, Dave Side boys have built a wallride and some other bits at the top of the skatepark a while ago as well. Loads of wooden ramps, moveable ledges, rails are often left there, most of them we don’t even know where they come from…
STEW PATON DANGLES A MELON OVER FILTH.
How do you decide what to build? Any fist fights over what you're gonna build hah ha?
Stew Paton: We usually just skate around and see where you get loads of speed then have a brainwank about what to build there. Then whoever is most excited about the build will just start dumping rubble and everyone else just follows.
Tim Bartelot: I guess someone just gets an idea and runs with it...theres been all sorts of silly little tiffs and some stuffs had to be knocked down and changed cos it didnt work but in general theres been no control over what gets built and by whom.
Tim Hill: I build things which I want to skate, which is the reason its worth investing the time and money in the park. Im ok at skating but don’t do much of the flippy ledge shit so I build bespoke lines to fly around with sneaky little transfers between ramps.
DAVE GOATLEY DOES AS INSTRUCTED.
The place used to be pretty sketchy. On more than one occasion I’ve stepped in human shit and there definitely used to be used condoms around. Any stories about the early years? You must have seen some dodgy stuff happening down there.
Stew: Oh yeah that was probably one of us sorry Ben. We’ve had people living in ramps, we were about to board it up the back and a guy came up and asked us not too as he lived in there so we left a board loose so he could still get in. When we took the big mini down after it had been boarded up as well as heroin the guy had a pretty strong high quality whisky and Copella habit. Ron who lives near by looks out for the homeless a lot round there calling the crisis team handing out sleeping bags in winter, I’ve seen him hand a guy a straight £20, He knows some of there back stories and why there were they are. Ive also seen him confront big groups of drinkers about shitting on
Tim Hill: Everywhere’s full of needles, shit and sex work detritus, bum prints and
RICO.
the ramps.
Johnny's in the bag of building sand in the morning; crack and a blowjob in the middle of the day or a 18+ photoshoot with a vaping schoolgirl riding the spine.
Rico: I saw a woman hiding behind some concrete blocks where Tim’s cradle is going to be (in the middle of the snake run) it was like 10am. I think she was shooting heroin as there was some syringes left behind after she was gone… this wasn’t even long ago. Also had to tell some kids off for pissing on building materials that was all pilled up nicely right next to the storage space we have behind a ramp… That happens quite often and that corner stinks… people just don’t know where to go for a piss or maybe just don’t realise that we’re building and keeping stuff behind the ramp. Theres also randoms pissing and shitting behind ramps when is dark… but… If
over the fence to the other side hahaha… we would really appreciate that ;)
Tim Bartelot: Yeah sweeping used needles and condoms into the infill was normal, dudes borrowing lighters to shoot up behind the fence and hookers getting seen to at school kick out time etc etc.
DAVE GOATLEY & TIM HILL.
you skate, next time you need a piss, just go in the woods behind the fence, or just piss
TIM BARTELOT HAS RAD BACKSIDE TAILSIDES. HERE'S A WALLIE TO BACK TAIL IN ILFRACOMBE. DID SOMEONE SAY MACKEREL?
How have the local community responded to the space over the years. I’d imagine that it's positive overall huh?
Stew Paton: I mean apparently it’s improved the area but all that stuff still happens. Most people are pretty onboard, Easton’s a pretty chilled place the neighbours don’t seem to complain especially with the motorway overhead. Late night mini ramp skating or the loud wooden ramps has been the only issue but that’s burnt down now so..
You’ve made a space that is so well used. This non funded or
TIM HILL 5050 TRANSFER INTO SNAKE RUN.
sanctioned park is more widely used than almost all other parks in the city. Would you ever entertain the idea of structured funding from the council. Or would that tie your hands in what you can do? Is the unsanctioned nature of the space what has allowed it to become what it is?
ART BY FEEK
JOE HILL MELON FAKIE IN ILFRACOMBE.
council grants and permission… We have the space which is the important bit, the build will come along slowly but surely. Applying for stuff and having serious meeting with council members sound long as fuck and I believe none of us are really up for it. …We often get some materials from PRSC, and some funding from Litterart, they’ve been supporting us a long way and have helped us massively, having the shipping container to keep building materials dry and safe it’s quite something.
What are the plans for the future of the park?
SINCEREST THANKS TO THE GUYS AT THE M32 FOR THEIR CONTRIBUTIONS TO STOKE AND FOR TAKING THE TIME TO DO THIS INTERVIEW.
Rico: Yea it gets used a lot, specially the rainy days. I think its better not be dependent on
Rico: Finish the bottom corner (bowl corner with the hip) first concrete pour hopefully in few weeks time and also finish Tim’s cradle (in the middle of the snake run).
instagram@stewpatontattoo
Ideally we want to get this 2 bits done before halloween when we usually have a jam. For a not
instagram@bad_risco
so near future (maybe starting in the winter, or maybe a project for next year) rebuild the old
instagram@davidhill
mini ramp out of concrete and add some bowl corners to it… theres also some ideas to build a
instagram@joe_skhillz
big hip next to the pillar at the top next to the pavement but this might take a while, probably
instagram@dave.goatley
another 2 years hahahaha
ARTIST:
DAVE GOATLEY
INTERVIEW BY BEN HAIZELDEN
So Dave where do these collages come from? Both artistically and physically? Must be a mission finding the elements for these collages?
The images are mainly from childrens reference books, the books i grew up with. Ive got a huge stack of them mostly from the 80s and early 90s, the style of illustration is all quite similar which lends itself to the collages that i make.
Some of your work looks assembled. In that the parts are clearly in opposition to one another. But some of the seem like they were meant to be like that. Are you aware of this push/pull with collage with how they can be read?
Mostly i try to hide the process so that you have to look hard to realise its an altered image. The act of creating it all manually is very tactile and rewarding. I dont have any intrest in doing it digitally, the images have to be found as they are and if they fit thats great but if not then you just keep searching.
There's clearly some political aspects to your work. Care to aloborate? Or would you prefer people to take what they want from your work.
I dont really start out with an agenda, its all quite organic and subconscious, but the worlds pretty fucked so i guess it finds its way in. Collage art has a long tradition of being subversive and satirical so im influenced by that too.
Any last words?
Not really just go out and skate and make stuff.
instagram@dave.goatley
A COUNTRY MILE WORDS AND PHOTOGRAPHS BY SKATEBOARDING BY JOSH
TIM SMITH
WHITEHEAD
Recently we’ve all been forced to narrow our horizons, stay indoors and think locally. Lockdown forced us all to change how we lived our lives, experienced the world and approached skating. In March our worlds suddenly shrunk and the weekly missions to meet the crew quickly seemed like a distant memory. As skateboarders living in a rural Yorkshire village, this has been a strange blessing and a curse, but as the saying goes, ‘when one door closes, another opens’.
Meltham isn’t known for its skate scene, banging street spots or excellent transport links. But, it is blessed with a small assortment of off the grid spots within a country mile of the village, hidden in the hills and rarely seen or skated by many. The ongoing stagnation lead to a build-up of energy whilst also providing time to reconnect to our immediate surroundings. Daily walking and cycling forced us to slow down within a landscape and push further into the fringes, rediscovering long forgotten gems. I can’t pretend that prelockdown we’d been totally bind to our landscape, rather that there was now a heightened emphasis to skate overseen remote spots; after all we didn’t have many other options.
We skated in the evening, after our kids had been put into bed and the blur of working from home had ďŹ nished. Getting on our bike, equipped with a sweeping brush and desire to break the monotony, we headed for the hills.
At the spots, there was a race against time to get tricks before the sun dipped down behind the hills. To add to the challenge, the spots didn’t really allow Josh much chance to warm up, it was pretty much about getting straight down to business. It takes a special kind of skater to be able to turn up and throw down some hammers straight away, especially considering the break to the usual destruction of the local skatepark prior to any sessions.
Looking back it was a strangely peaceful time, a simpler time; void of the necessity to travel, spending evenings accompanied by a quiet rustling of the wind and bird song whilst cleaning down a spot. Of course it’s not sustainable to skate like this on a weekly basis for a prolonged period of time, however, necessity is the mother of invention. Like a distant and strange dream, it’s easy for me to see these sessions with rose tinted glasses, but they did provide a much needed dose of normality to an otherwise bewildering time. It’s the small things that make life feel a lot more fulfilling.
Being in lockdown made us thankful for friends, the great outdoors and a determination to keep skating. You don’t have to go far to have a blast and find spots; there’s lots outside your window, even if outside is full of hills and livestock.
instagram@tim0_smitho instagram@daoism_
SKATEBOARDER / ARTIST INTERVIEW:
OTIS HARDING-HILL PHOTOGRAPHS AND INTERVIEW BY BEN HAIZELDEN
So Otis. Wanna educate us. How old are you and where are you from. And where are you living now?
I’m 20 years old, I was born in Bristol and I’ve lived here all my life.
When did you get into skating?
I got into skating when I was about 13 I got my first board for Christmas but I’d skated a bit before, I would borrow my mates boards when they weren’t using them and stuff but wasn’t really the same.
What was the thing or moment that made you go 'Yeah that's for me!' ?
That’s a hard one I can’t really remember the moment maybe when I did my first ollie or bombed a hill without falling off or something. It was sick because I started around the same time as loads of my mates so we were all stoked of eachother.
What gets you fired up to skate?
Music gets me fired up to skate for sure stick on some fast punk rock or something and you’re gonna skate fast without even realising.
OTIS DOES A WALLIE IN REDCLIFFE. OUT OF SHOT THE YO BIKE CREW LURK WITH MENACING INTENT. PHOTOGRAPH BY BEN HAIZELDEN
Do you have any favourite artists, what drives you to make art?
I wouldn’t say I have a favourite artist really it depends on the time, one of my favourites is Raymond Pettibon they guy who used to do all the black flag covers I think his arts sick, I love his drawings and his style and he’s a really weird guy. I’m not sure what drives me to make art really I wouldn’t say it’s a specific thing, I like to have an idea before I start most of the time but I could get that idea from anywhere really.
Thanks for taking the time to share your work, and skateboarding. Keep up the raddness!
instagram@o.t_is instagram@otisoldat
SCULPTOR: ALICE
JENNINGS
INTERVIEW BY MATT LIGHT First of all, how did you get into sculpture?
Surprisingly, when I was growing up I wouldn’t have considered myself to have been that creative. It wasn’t really until 16/17 I realised, actually, this is my thing. Sculpture came quite late in my 2nd year of university. I picked up a hammer, did some cold metal shaping and realised, ah, this is the creative thing I’m good at. It was a massive turning point. I was like this is what I want to do, this is my outlet. I grew up in Wiltshire, which is predominantly countryside, forests, stone circles. It enabled me to appreciate structures, compositions. A lot of my inspiration’s derived from my surroundings growing up. I was always drawn to things that kids at school would gross out to - fungi, mushrooms.
What’s it like now, being a sculpture artist in Bristol?
It’s challenging at times. I need quite specialised facilities and there aren’t many of us. I do quite a lot of exhibitions outside of Bristol and the demographic is pretty much, white 40+. A lot of friends, musicians, video artists, all sorts, really inspire my workflow. Though, sometimes I feel there’s not many I can confide in about ceramics and sculpture. Still, there are great hubs like Trylla in Bedminster, really trying to create a ceramic community with clay clubs. I want to delve further into the sculpture community in Bristol, but I’ve kind of got caught up in the music community.
A lot of contemporary sculpture is unfairly associated with dodgy council design, corporate lobbies,
National Trust parks etc. In your ideal world where’d you envisage it’s placement? I like the idea of sculptures with functions that people can interact with. A big dream of mine is to design skate-able sculptures, I’d really like the funding to do that. The form and shape of bowls, there’s something beautiful about them. I doodle things like that all the time.
Do you always draw with sculpture in mind?
What's your preferred space to exhibit? Do you have somewhere in mind when you start a piece?
Usually, sculptural forms come first and then drawings after, it’s pretty backwards. I wasn’t allowed to do it at university,
I never start with anywhere in mind, but definitely outdoors.
it was always ‘’you do drawings to prepare’’. Supposedly
Although, one of my favourite sites was Southville Crypt for
you're meant to do preparatory drawings for sculpture but I
Cacophonous Sarcophagus. I’d love to exhibit at the NCP
find sculptures inform my drawing.
Carpark or Castlemead, or even just start glueing bits of ceramics to walls around town.
You won the Ruth Tait award in 2017 for young
Once I make the piece I take it outside, test it in different
sculptors. What did it actually do for you?
places. I once fired a piece at Trylla and took it to Dean Lane. All the smooth concrete, graff and trash - it just
Entering competitions is a great way for artists to access
worked in that setting. Outdoors, you get to understand the
opportunities and funding. It was the first one I ever went for
organics and interact with the space’s physicality. Testing
and somehow I won! It helped my progression meaning I
things is important, surprises come from mistakes and
could afford a kiln and a slab roller. Since then I’ve been
things you can’t control.
invited to exhibit at Delamore Arts and Fresh Air Sculpture. When I first saw ‘Cummulus’ I remember thinking As someone who’s involved with the DIY
it had an almost labial quality. How does the
community here, how do you feel about utilising
body inform your work?
established institutions like that? What advice would you
With organic forms I feel there's perfection. Like repeat
have for artists who might be hesitant to go
patterns or two folds almost touching. I’m obsessed with
down that
folds, natural textures. Visually it's incredibly visceral. I was
route?
late to realise I’m a Haptic person, meaning, I understand the world through touch and texture. So this always directly
With anything like that there’s always a struggle. I wouldn’t
informs my sculpture.
say it's selling out. If a gallery is making you change your art, that's selling out. Because you're compromising. The
What about CHAMP and the Brunswick Club?
main thing is to go for these things. Get out there, because it's easy to be a stay at home artist. If you're comfortable
Around the time Surrey Vaults closed I was invited to join
with it, go for it!
CHAMP at the Brunswick Club and became part of this incredible community. Everyone was so diverse - prints, photography, record labels, video art. Until recently, we were at Pennywell. But we can no longer afford the space after Covid.
It seems impossible to talk about these collectives without mentioning loss of space, how it's affected the community… The Surrey Vaults isn't there anymore, neither is Brunswick Club…
There’s a gaping hole in my heart, I deliberately found a flat two minutes away from the Vaults! It was my first job after uni, the best I ever had! Coming out of uni I think I didn’t really know who I was, then I met all these amazing artists. Not just at CHAMP, Brunswick but also through Noods, ATC. Having this DIY space where you could put on whatever you wanted, take off your clothes. It’s upsetting these spaces are shutting down and aren’t protected. With everything happening (with Covid), I know during the last recession places became available because of retail spaces closing for example. Strange Brew’s our next hope. They managed to get help with funding from the community, there’s hope still!
Finally, what’s next?
I’m working on a piece called Mors Mortis Terra (Death of The Land). A comment on the UK only having 94 harvests left. It’s going to be installed at Friends of the Garden in September. There’s loads of space so pretty safe in terms of our current situation.
instagram@alice.jennings
GIL AMOS 360 FLIP PHOTOGRAPH BY BEN HAIZELDEN
CARL VANCE K GRIND OVER GAP PHOTOGRAPH BY BEN HAIZELDEN
BAZ DAN ROCK AND ROLL PHOTOGRAPH BY BEN HAIZELDEN
ANDREW ROCHE
NOSEBLUNT
PHOTOGRAPH BY
JODI ROGERS
YAN
David Thomas Saunders 15TH SEPTEMBER 1965 - 6TH APRIL 2020
OG DEANER RIPPER WITH THE BEST STREET PLANTS AND LAYBACK GRINDS YOU COULD WITNESS.
THE STRANGEST PET ON EARTHS POEM BY BRUCE MC CLURE REPLACER Swinging the pendulum
The room fills with scalding water,
Cracking the shell,
Burning middle aged feet,
Head switching directions,
Sets aside that whore’s luck,
She stops singing to hunt,
Pesticide keeps them from the gate,
An exoskeleton dashed,
Stunts performed in long lost barns.
Gastropod pried, It coils round her beak.
And with this solstice, They see them toppled,
On the stove,
New leaders ready for the block,
Pot boils bubbles deforming,
Up you climb,
Forgotten islands dismissed by heat,
Steady there,
In a twelve noon dressing gown,
Beware of noose and shot.
Man observes her, What has this garden become, Nails as long as temples, Pixies setting fire to hair, They court through glass.
Soon the saltings will be free of animals, An old tractor that doubled as a battleship, Cast adrift by childhood, The pair continue in their film, Frog spawned cradle in a hand, Another world of flesh.
ILLUSTRATION BY HENRY 'SWAMPY' MOORE
