FOREWORD The connection between big wave surfing and WA is an integrated one. Frontier Surfing at Fremantle Arts Centre focusses on this relationship – between the wave, the board and the rider – and a very special location too – South West Australia’s coastline. We follow the characters into the deep and experience extraordinary moments captured by pioneer photographers. Frontier Surfing seems opportune in its timing, with images of big wave surfing predominate today not only online and in surfing journals but in the wider published media. The thrill of seeing surfers ride monster waves, of seeing the scale of human will-power against the ferocity of nature is embedded somewhere deep within our psyche – it is part of our national history and intertwined in our cultural stories. Frontier Surfing moves with this imagery but also aims to go along for the ride from the design for the next wave, shaping of the boards, to the search and the captured image and tales from those who surf these huge swells. Frontier Surfing brings together a story of challenge and braveness but also taps into the humanity and singular spiritual connection between surfer and wave. Frontier Surfing is based on concepts developed by Damon Hurst and curated by Damon, Bevan Honey and Ric Spencer.
FRONTIER SURFI I learned to surf at Rotto, age 14. I touched my first “fibro” at a Shell servo’ in Mandurah in ’74. I saw my first “hippies” at Yallingup in ’75. I got my first almond-shaped tube at Jakes Point, Kalbarri in ’79. These unique wilderness experiences that WA offers set me on a pathway. On what would become a 20 year journey exploring the surfing world, I’ve had an array of experiences I couldn’t possibly have imagined. Some 40 years later I’m still transfixed by surfing, the way it never stops giving to me, in the moment and over my lifetime. At some point I decided it was time to give back… and I’ve been running events that celebrate the pure joy of surfing and the language of music ever since. I’ve been back in WA 10 years now, so much has changed, including the surfing landscape, and I’ve had an urge to tell that story in some way. This exhibition at Fremantle Arts Centre (FAC) is my opportunity to tell that unique WA story.
Once commissioned by FAC, I set about recording all of my thoughts and ideas for the exhibition. Over a month or so I found I’d written 20,000 words, which I’d compressed into 5 concepts, and 26 ideas for artworks…and then all of that into the symbol you see below. To tell the truth, I didn’t know what it all meant. Then I started to connect to all the individuals that have made this exhibition possible. The extreme surfers, the shapers, the photographers, the writers and all those with a deep love of surfing that have given me a trail to follow. In turn, as I tried to articulate my ideas to them, I started to realise their generosity of spirit was what this exhibition was all about. What the Hawaiians call “the spirit of Aloha”, and what I’d tried to articulate with my symbol.
ING So there’s a lot to explore, on many levels, within this exhibition. In coming to the realisation that this symbol summarises all that I want to say about surfing, I came to the realisation that surfing is a metaphor for life too. That is, all we really have in this life is the opportunity to connect: to others and to nature too. I can think of no better way to connect with you than to celebrate the pure joy of surfing. I’m choosing to do so by looking at the extremes of surfing, right here, right now in South-Western Australia, in 2016. Maybe some of you will look at aspects of the exhibition and say “I remember when I could do that”, if so I hope you decide to get back out there, on any level you feel comfortable. Just remember this “the best surfer is the one with the biggest smile”. Also, I’m hoping there’s a few grommies who look at this extreme surfing and think “let me at it - right now”. In doing so, we have the infinite nature of the ever-expanding surfing frontier effortlessly giving back. As custodians of this lifestyle, and the unique West Australian coastline, I hope this exhibition gives us all a chance to draw breath too and be thankful about all of that. - Damon Hurst
Jeff Divine, Barry Kaniaupuni at Sunset Hawaii, Circa 1972
Russell Ord, Out There On The Perimeter, 2015
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“Russell Ord is a special kind of maniac. He lives out there on the boundary between the shootable and the deadly, and risks his neck to swim out and immortalise some of the heaviest water ever shot.” Russell Ord is a celebrated international photographer with a unique connection to the ocean. From hometown Margaret River in Western Australia 267km south of Perth, he has earned worldwide recognition for his big wave photography. His images capture the organic and often bewitching beauty of the sea in motion. Venturing up to 15 kilometers offshore in the Southern Ocean and swimming in to some the biggest waves on the planet, Russell captures distinctive images of the wave impact zone. A global social media following of 100k, tens of surfing magazine covers and a slew of international awards including the ASL Oakley Big Wave Award, the International Loupe Award and the Nikon Surf Photographer of the Year (Finalist), are testament to the quality and originality of Russell’s work.
A fireman by trade, Russell’s journey into photography started fifteen years ago when he injured his knee surfing. Instead of sitting on the couch for three months he picked up a camera and spent his days at the beach shooting friends in the waves. That injury transformed his life; his passion for photography was born. Russell’s photographic prowess also extends to landscape, lifestyle and portrait photography. His clientele include Aston Martin, Tourism Western Australia, Quicksilver, ESPN, Billabong, Red Bull and a number of world class wineries. He also shot the poster image for the 2013 Australian film Drift about the birth of the surf industry in the 70s.
John Witzig, Nigel and JW, 1971
These pictures were shot on two surfing trips from Sydney to the south-west coast of Western Australia in 1970 and ’71. The first trip had been inspired by a visit when the Australian Championships were on in 1969, and the second by the first one – it had been such a good adventure. Nigel Coates and I had outfitted my Kombi with bunks and storage areas (our boards fitted neatly in under the roof), and it was a great travelling vehicle. I shot pictures and wrote stories for Tracks magazine on both trips. Albe Falzon and I were taking turns in producing issues once we’d done the initial few. It was an arrangement that suited both of us – and I got to waste some time wandering around the country. - John Witzig
John Witzig, Nigel Coates and Murray Smith at Smiths Beach, 1972
John Witzig, Prevelly Park, 1971.
John Witzig, Margaret River lineup, 1971
John Witzig, Tony Hardy at Margaret River 1, 1971
FRONTIER SURFB 1. Ancient Hawaiian Belly-Board Year of manufacture: 1930s Dimensions: 5’ approx. Shaper: Unknown Brand: Redwood Construction Owner: Richard Hadley – 2. Tow-in surfboard for Cow Bommie Year of manufacture: about 2007 Dimensions: 5’10” Shaper: Dave Lewis Brand: Da’Lewey Surfer originally made for: Damon Eastaugh Owner: Damon Eastaugh Historical significance: Carbon fibre construction same dimensions as board made by Maurice Cole owned by Paul Paterson that is in photo (Avalanche photo by Jamie Scott) – 3. Alai’a Year of manufacture: about 2006 Dimensions: 6’8” approx. Shaper: Tom Wegener Brand: Wegener Surfer originally made for: Damon Eastaugh Owner: Damon Eastaugh Historical significance: Early traditional replica of Polynesian Alai’a – 4. Sunset Gun Year of manufacture: 1996 Dimensions: 7’2” Shaper: Al Bean Brand: Al Bean Surfer originally made for: Paul Paterson Owner: Paul Paterson Historical significance: The surfboard Paul rode to win The World Cup of Surfing at Sunset Beach in 1996. The second leg of the prestigious Triple Crown held on the North Shore of Oahu, Hawaii. The board was shaped and glassed at Yallingup by Al Bean in one day and sent to Hawaii unsanded with Paul’s brother, Jake. Finished in Hawaii, surfed by Paul once before the final day of competition and then ridden to victory on a perfect 8-12ft day at Sunset Beach.
BOARDS
5. Indonesian Gun Year of manufacture: Circa 1996 Dimensions: 7’6” Shaper: Pat Rawson Brand: Pat Rawson Surfer originally made for: Tom Kelly Owner: Tom Kelly – 6. Hawaiian Mid-range Gun Year of Manufacture: 1976 Dimensions: 7’6” Shaper: Tom Parrish Brand: Lightning Bolt Surfer originally made for: Ian Cairns Owner: Ian Cairns Historical significance: Ian won the World Cup Contest at Haleiwa, Hawaii. He rode this board at that contest (may not have been during the final as the surf was large) - also had some classic waves at Sunset Beach on this board. – 7. SW-WA Gun Year of manufacture: 2008. Dimensions: 8’8” x 19 1/8” x 3’ Shaper: Nathan Rose Brand: Nathan Rose Surfer originally made for: Nathan Rose Owner: Nathan Rose Historical significance: When I shaped this board at the end of ‘08, it was the biggest gun I’d made myself. I hand shaped it using Maurice Coles old Hawaiian templates that I’d got off him when I took over the factory. – 8. Big Wave Gun Year of manufacture: Circa 2004 Dimensions: 9’1” x 19 ½” x 3” Shaper: Mitchell Rae Brand: Outer Island Surfboards Surfer originally made for: Tom Kelly Owner: Tom Kelly Historical significance: Balsa, mother-ofpearl inlay “spirit eyes”.
9. Hawaiian Big-Wave Gun Year of manufacture: 1989 Dimensions: 10’0” x 20” x 3 ¼” Shaper: Chuck Andrus Brand: Local Motion Owner: Mitch Thorson Surfer originally made for: Mitch Thorson Historical significance: This board was entirely progressive for its time, given it was designed for a high performance approach to big wave surfing (as opposed to survival!). Chuck Andrus was, and remains, a quality surfer and craftsman, with a particular ability to cater for the larger framed surfer – he stands around 6’4” and 115kg himself. This board was originally ridden on Oahu, Hawaii at big Sunset Beach and Waimea Bay, and also in the early phase of outer reef venues at Outside Aligator Rock (also known as Cloud 9), Himalayas and Outer Laniakea. In Western Australia’s Margaret River Region, this board was ridden at The Bombie, Boatramp, Gas Bay Point Bombie and A Frames, as well as big Mainbreak. – 10. Cow Bommie Gun Year of manufacture: 2014 Dimensions: 10’ x 22’ x 3 ¾ Shaper: Al Bean Surfer originally made for: Twiggy Baker Owner: Al Bean & Paul Patterson Historical significance: This SB was made for international big-wave surfer, Twiggy Baker to ride at The Cow Bommie in 2014, a swell that never came. It was ridden by Paul “Antman” Paterson at The Cow Bommie on 27th June 2015, which was widely reported as peaking at 60ft face. In 2016 Al has been experimenting with the amount of fiberglass adding a layer of 6oz to the deck and 3x6oz patches just forward of centre, the idea being to get more momentum down the face sooner. The mad skull design is covering all these patches up. – 11. SW-WA Outer Reef Gun Year of manufacture: 2014 Dimensions: 10’6” x 21 ½” x 4’ Shaper: Marty Littlewood Brand: Delta Surfer originally made for: Damon Eastaugh Owner: Damon Eastaugh Historical significance: Marty did me up and put my signature on it which was never intended.
12. Hawaiian Big Wave Gun Year of manufacture: 1961(approximately) Dimensions: 10’6” x 21 ½” x 4” Shaper: Dick Brewer Brand: Surfboards Hawaii Surfer originally made for: Bob Pike Owner: Ray Moran Historical significance: 1958: Bob Pike, already a renowned big wave charger in his home town of Sydney, is one of the first to surf the Queenscliff Bommie. On the back of this experience, Bob decides its time to test himself in the ultimate proving ground, the North Shore of Oahu, Hawaii. Shy and unobtrusive, his surfing speaks for itself and he’s invited to share the line-up at big Sunset and Waimea with locals such as Jose Angel and Ricky Grigg, whom we now know to be big wave surfing’s founding fathers. 1962: Bob Pike is the 1st Australian to win an international surfing competition, when in 1962 he took out the Peruvian International, then one of the surfing world’s most prestigious events.
1998: Sometime later, Ray Moran was approached by Dick Brewer at the Manly Surf Club, who was over from Hawaii, “Jack McCoy told me you had one of my old boards, I’d love to see it”. When Ray showed him Brewer was shocked “ I can’t believe one of my boards has lasted 50 years”; he came back the next day and took an outline shapers template, adding “I might just go back to Hawaii and make another one” January 2015: Ray Moran kept his promise; the surfboard has always been made available for the benefit of the Australian surfing public. Notably, in January 2015 the surfboard was part of a significant vintage surfboard exhibition, curated by Jack McCoy at the Royal Freshwater Surfclub; in turn, this exhibition was part of a 100 year celebration of Hawaiian Duke Paoa Kahanamoku’s visit to Australia. April/May 2016: The board made its maiden voyage across the Nullarbor Plain to Western Australia to be part of this Frontier Surfing exhibition.
May 1996: Ray Moran is handed this surfboard by a firey, Jim Hurlstone, who was given it by Bob Pike to learn to surf on around 1995. Bob, also a firey, had worked with Jim at The Neutral Bay Fire Station for many years. Ray outlined to Jim what he knew about Bob, the surfboard’s shaper, Dick Brewer, and the probable historical significance of the surfboard, finishing with ”so you can understand why you’ve never learned to surf on it.” Adding ”Look mate, the only way I’ll take it off your hands is under the promise that I‘m the custodian of it, and its history, and I’ll protect it on behalf of the Australian surfing public”. Ray took the board home and immediately called Bob Pike. Initially Bob was very flat “Ray, everyone’s’ got one of my guns” – probably thinking it was one of many big-wave guns Bob had shaped under the Scott Dillon label. They kept talking then Bob said, “Hang on, did you say yellow-railed Dick Brewer?”. Hearing and understanding now, Bob immediately came to Ray’s house to see it for himself. Ray recalls “There was a tear in his eye as he felt his way up and down the board; he turned towards me and said “Ray don’t ever repair this board, I can still feel me fingertips embedded in the rails”. No doubt remembering the many massive waves he’d turned and gone for in Hawaii.
Jack Eden, Bob Pike & Board, Hawaii, Circa 1958.
– 13. Factory Standard Blank Year of manufacture: 2016 Dimensions: 10’8” Shaper: Unshaped Brand: Burford Gun Surfer originally made for: TBC Owner: Tom Hoye – 14. Cow Bombie Gun Year of manufacture: 2011 Dimensions: 12’ x 22 ½” x 4” Shaper: Tom Hoye Brand: Precision Equipment Surfer orginally made for: James Connelly Historical significance: This surfboard was made to be ridden at the Cow Bommie. So far it has been ridden at 12ft Margaret River Main break by James Connelly and Camel. Surfboards photographed by Rebecca Mansell
Jamie Scott, A Day in the Life, 2015
surf
“When I first started there was hardly anyone in WA doing it, esp ecially the big wave stuff, so I bou ght a 13ft Rigid Inflatable boat wit h a 40hp on the back and started hea ding out to the big wave spots with some mates and documented their . I have won the Oakley Big wave awards numerous times with my ima ges and helped the surfers win ove r $100,000 throughout the years bet ween them. It’s an exciting job and I wouldn’t want to be doing anything else.” - Jamie Scott
photography
adventures
Jamie Scott, Avalanche (Damon Eastaugh), 2006
ACKNOWLEDGEMENTS Damon Hurst would like to thank the following for their support and incredible generosity toward Frontier Surfing: John Witzig, Russell Ord, Jamie Scott, Marian Scholten, Duncan Robinson, Mitch Thorson, Rob Conneeley, Joe Knight, Tony Hardy, Ian Cairns, Justin Allport, Damon Eastaugh, Richard Hadley, Tom Hoye, Al Bean, Ray Moran, Nathan Rose, Paul Paterson, Adrian Wilson, Tom Kelly, Marty Littlewood, Dave Lewis, Tom Wegener, Mitchell Rae, Dick Brewer, Chuck Andrus, Pat Rawson, Jack McCoy, Sean Murphy, Mike Rigoll, John Bradbury, Darren McCagh, Graeme Attey, Camel, Jake Paterson, Dave Brophy, Mark Lane and everyone else that helped in bringing Frontier Surfing together. Fremantle Arts Centre would like to thank Damon Hurst for his initial ideas and concepts from which Frontier Surfing extends. His enthusiasm toward the show has been pivotal to its realisation. FAC would also like to thank Surfing Western Australia for their support and all the photographers, shapers, collectors, interviewees, writers, sound and video artists and surfers who have been so generous in their time and loans for the show. FAC also thanks the Department of Culture and the Arts for their ongoing support.
frontier surfing
fremantle arts centre