Skateparks: Trace and Culture Volume 1 Skateparks: Trace and Culture Volume I Dan Johnston Doctor of Creative Arts Western Sydney University June, 2019 Cover. Frontside of Neilson Park skatepark sign, Rokeby, Tasmania, (image by author, 2016). Figure 1. Abandoned shopping trolley, Humpty Doo, Northern Territory, (image by author, 2018). I Dedication I would like to dedicate my thesis to the family and friends who have supported me throughout the lifecycle of this project and who have journeyed with me from pillar to post, capturing my skatepark traces along the way. To my amazing wife Ally Drinkwater. How fortunate I am to share my life with you. Without your love and support, fierce intelligence and passion for travel, I would not have achieved half of what I have. To my children, Zahki, Evie and Esther. You have each quite literally grown up with this project, and I am so lucky that you each enjoy skateboarding! I love you all. To my friends who have travelled with me while conducting research: Mel, Jasper, Kyle, Wyan, Mackenzie, Georgia, Matt, Danny Boy, Liam and Ash. It was so fun! Greg Hughes and Leo Robba, you were both inspirational in demonstrating how to complete higher degree research. You showed me the way. Matthew Sullivan, I have relied on your critical eye many times, and I am indeed grateful for your input and guidance. Dan Collard, for your ongoing friendship and dedication to going for a roll. Figure 2. Graffiti traces captured at Albury skatepark, New South Wales, (image by author, 2016). II III Acknowledgements I will be forever thankful for the support that Western Sydney University has provided me during the duration of my Doctor of Creative Arts candidature. I would specifically like to thank the School of Humanities and Communication Arts, B. Design program for supporting me whilst on Academic Development Program leave, and the Dean, Professor Peter Hutchings for his guidance throughout the process. James Arvanitakis, you are an inspiring supervisor, teacher, lecturer, researcher and overall amazing advocate for Western Sydney University. You went above and beyond to take me on, and I have appreciated your confidence in this research. You have provided fantastic support and guidance, whilst encouraging me to lead the way. Jonathon Allen, you are a creative and thorough design thinker and mentor. Your ability to envision my work within the global research community has been a driver for my confidence and enthusiasm. This work would be very different had it not for your tireless energy and support. Kaye Shumack, you played a crucial role during the inception stage of this work, and I appreciate the direction and support you gave me through the formative stages of the project. Katrina Sandbach and Alison Gill, without your expertise, flexibility and support, I would not have had the time or headspace to focus on completion. Simone Ford, I greatly appreciate you applying your amazing editing skills to my exegesis. Your thorough approach attention to detail is amazing! Tod Clarke, you are a technical wizard, and I would like to thank you for the exquisite prints that you produced for my exhibition. Adrienne Richards, thank you for assisting me with my exhibition, and to the Blue Mountains Cultural Centre, Braemar Gallery for hosting. To Ben Baxter at the Picture Framing Warehouse. You are a master of your trade and I am grateful for your service. Figure 3. Alien landscape captured at St Clair skatepark, New South Wales, (image by author, 2014). IV V Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. .................... Figure 4. Dedications of love and other things, Charlesville, Queensland, (image by author, 2014). VI VII Contents Skateparks: Trace and Culture ...................................................................I Alteration ................................................................................................48 Dedication ................................................................................................III Territorial/Gang ........................................................................................48 Obscene ....................................................................................................50 Acknowledgements .................................................................................. V Defamatory ...............................................................................................53 Statement of Authentication ......................................................................VII Drug .........................................................................................................54 Gay ...........................................................................................................56 List of Figures .......................................................................................... X Love ..........................................................................................................59 Abstract ....................................................................................................1 RIP ............................................................................................................59 Direction ...................................................................................................63 Dropping In ..............................................................................................2 Commission ..............................................................................................64 Police ........................................................................................................66 Scoping the Scene ......................................................................................4 Indigenous ................................................................................................67 A (very) Brief History ................................................................................6 Skateboarding Brand ................................................................................70 Scooter Brand ...........................................................................................72 Found Space, Constructed Space ............................................................. 11 Music ........................................................................................................73 Where is the Gap? ...................................................................................17 BMX .........................................................................................................74 Crossed-out ...............................................................................................75 Research Methods ...................................................................................18 High Point ................................................................................................80 Practice-based Research: a Chronology ...................................................20 Addition ..................................................................................................81 Photography as a Research Tool..............................................................23 Found Object ............................................................................................82 Rubbish .................................................................................................... Building Trace Typologies .......................................................................26 83 Shoes .........................................................................................................85 Photographic Approach ..........................................................................29 Broken Skateboard Deck ...........................................................................87 Shopping Trolley .......................................................................................89 Creating Traces for a Non-skater Audience .............................................34 Personal Items ...........................................................................................90 Light Trails ..............................................................................................36 Sign ...........................................................................................................91 Safety ........................................................................................................91 Audio ......................................................................................................36 Future Directions ....................................................................................93 Coding as a Research Tool ......................................................................39 Conclusion ..............................................................................................94 Discussion ...............................................................................................42 Works Cited ............................................................................................96 Adaptation ..............................................................................................43 VIII IX List of Figures Cover. Frontside of Neilson Park skatepark sign, Rokeby,