Thread book launch party Laguna

Words and interview by: Powerhouse Books
Photos and captions by: Steve Thomas

Photographer and filmmaker Patrick Trefz spent more than two years wandering country roads, always in search of the best way to the beach. Thread follows Trefz on his travels from the Basque Country to Steinbeck country, from New York City to West African island nations, scaling fences and hunkering down in the dirt to capture his vision of the visual language of surf culture.

The book is a study in juxtaposition, particularly between the man-made and the naturally occurring. Freighters in a harbor, arranged like pieces on a game board, are set against the light ruffle of wind on the water. Wheels and gears, line running through an installation like belts in a motor, the extremity of industrial production, are countered by a man and a wave, two products of natural energies. Seen one way, everything is natural, and the question becomes one of degrees of manipulation. Still, the settings in these pictures suggest duality, differing realms—the road and the beach, the train track and the lineup—each element evoking its own associations. Patterned yet non-linear, Thread takes seemingly disparate subjects and gently ties them into a unified whole, finding commonality in devotion and practice.

Patrick Trefz is a longtime staff photographer for Surfer Magazine. He is also a filmmaker, who directed the 16mm film on which the book version of Thread is based. He was born in 1970 in Düsseldorf, Germany, and lives and works in Santa Cruz, California.

Charles Wehrenberg is a biochemist, writer and art collector who lives in San Francisco. He is the author of five books, including Mississippi Blue (Twin Palms, 2002).

Ari Marcopoulos began his career in New York City assisting Andy Warhol. In his quarter-century career as a photographer, he has become known for stunning landscapes and playful portraits of artists, musicians, extreme athletes, and other muses.

Christian Beamish is the former associate editor of The Surfer’s Journal, as well as a writer and builder of surfboards and boats.

POWERHOUSE INTERVIEW WITH PATRICK TREFZ


Thread is a study in juxtaposition, particularly between the man-made and the naturally occurring. Freighters in a harbor, arranged like pieces on a game board, are set against the light ruffle of wind on the water. Wheels and gears, line running through an installation like belts in a motor, the extremity of industrial production are countered by a man and a wave, two products of natural energies. Seen one way, everything is natural, and the question becomes one of degrees of manipulation. Still, the settings in these pictures suggest duality, differing realms—the road and the beach, the train track and the lineup—each element evoking its own associations. Patterned yet non-linear, Thread takes seemingly disparate subjects and gently ties them into a unified whole, finding commonality in devotion and practice. Trefz sat down with powerHouse Books to discuss his creative process.

powerhouse Books: Tell me about your background… Where are you from, and where does your interest in photography stem from?

Patrick Trefz: I spent my childhood years growing up in Düsseldorf and Paris. My first memory of cameras came from my father, who worked as a still life studio photographer. Early on, I liked the idea of getting into it professionally, so I interned for several high profile photographers. This made me realize that I wasn’t into the studio work at all—I was more into documenting and enjoying the world around me, skateboarding with friends, traveling by rail around Europe, working on my graphic doodles and graffiti—basically just indulging my creative impulses. Years of vagabonding with surfboard and camera eventually led to a job at SURFER magazine.

pHB: How would you describe your photographic style?

PT: I find that hard to describe, as it all comes from the bottom of my heart/belly region. As I daydream, I visualize compositions and scenarios. In time, when everything falls into place, the moment to realize my vision presents itself. Rolling the film camera or snapping the picture, I am totally gratified. So, I wouldn’t necessarily call it a style; it’s more of an approach. If I were pressed to define my style, I would say that the early years of working with my father in the controlled environment of the studio gave me a strong, classical foundation by being immersed in aspects of formal composition. As I mentioned earlier, I was compelled to explore the world. Thus, I believe that I brought this formal sensibility to the streets and beaches of everyday life. Over time it evolved into introducing a view to the surfing genre that was typically found only in the realm of what was considered fine art photography.

pHB: Is this a style you’ve developed over time, or was it something particular that you had in your mind when you first started shooting?

PT: When I was 15 I took my first solo trip—to Tunisia. I roamed the country by train, bus and foot, hungry for the experience and culture, overturning every stone in sight. There was a certain spontaneity and innocence to it that is hard to find these days. I’d have to say that my original intent, curiosity, and zeal has and will remain a driving force.

pHB: Who or what inspires you and your work?

PT: I am inspired by the new and unknown, a country or city I haven’t been to, an artist or musician I haven’t heard off, finding a new hiking trail in the woods behind my house—an unending fascination with discovery and exploration. This also applies to surfing and waves: each wave that breaks is unique and you have to be alert and observant to deal with the constant change. I like how that idea is applicable to the endless transformations within every day life.

pHB: The book Thread is based on an award winning, 16mm film that you directed… Talk to me about these projects, what themes do you explore through them?

PT: Thread is based on a common creative thread that a group of surfers share, showcasing a different aspect of our culture, away from the boobs and tubes stereotype. The main theme revolves around the idea that the lines that these surfers draw onto the waves translate into their artistic pursuits on land. For example, Jim Denevan is highly dedicated to producing land art on low tide beaches that vanishes with the incoming tide. Joe Curren explores his roots via photography, whilst Tom Carroll gets into the science of shapes and experimental fin design.

pHB: Is there a photograph in your book that you consider a personal favorite of yours, if so, which one and why?

PT: It is the opening shot of the book: Patxi Oliden, autodidactic surfboard shaper from the Basque country. A genuine man who has been surrounded by the sea his whole life, he was originally an oar shaper for the whaling fleets from Orio. When Californian surfers arrived at the coast for a visit, he taught himself how to shape in order to supply the hometown kids with inexpensive surfboards. His company, ‘itxastresna’, directly translated from Basque, means ‘Democratic Surfboard Company’

pHB: Thread follows you on your travels all over the world in search of the surf… Describe some of the experiences or the memories that stand out the most.

PT: The surf is the icing on the cake and the time spent traveling to it makes for such rich experience. The different people and places that led me to the final product of the film and the book were incredible: surviving a 10 hour taxi ride from hell from Athens to Corfu, getting stuck and crazy sick in a massive sandstorm on an island off the Saharan coast, drinking Rioja with my Basque friends in their family winery that dates back to 1150 A.D., collaborating with musicians on the soundtrack, and spending 2.5 months in the Chelsea hotel whilst editing in NYC. This is certainly an abridged list, as there were many, many more.

pHB: What are some of the greatest challenges that you face as a surf photographer? How do you overcome them?

PT: The way surfing is portrayed in its current commercial form has nothing to do what surfing really means for my friends and me. The monthlies just show off the same old surf porn with a flavor of the month mentality, front lit and close up so advertisers see their logos. An independent book is the perfect medium for me to tell a story that usually doesn’t have the chance to breathe. Working on non-surf related projects is also a nice way to step away from it all and return with a renewed perspective.
pHB: Do you prefer shooting on land or in the water?

PT: Whatever it takes, really: from land, swimming in the pit of a wave, riding a surfboard with the camera, from a canoe, boat, jet ski, helicopter, or plane.
pHB: And lastly, what does the future hold for you and your work?

PT: I have been tracing and shooting Steinbeck’s legacy in the Salinas Valley for the last few years with my trusty 6by6 Rolleiflex. A book is in the works. Since digital still cameras have evolved to also shoot motion, I will be able to work with more freedom and spontaneity, rather than having to shift from one piece of equipment to the other. Right now I’ve got a new project is in the works entitled ‘Steeped’. It is about the refinement of the aging surfer. I am also working on a script for a narrative feature about a Sinti that fled from Nazi Germany to the woods of Northern California.

For more info or if you want to buy Thread go to:

http://www.powerhousebooks.com/book/1081

http://www.patricktrefz.com/


Patrick's Fasha would be proud.


Trefz and Barbee getting deep about the capturing of imagery Gaaaaaay.


Serious art talk going on right here in this picture


Greg Long winner of the Billabong XXL Awards 2009, Patrick Trefz Staffer at Surfer and Barry Haun Curator and Creative Director of The Surf heritage foundation together these guys could run shit.


A french guy would say "Rusty Long superkuuuuhl"


Ray Barbee jim-jam

Patrick Trefz “Bicycle Trip” “Bicycle Trip” By Steven Thomas

"Bicycle Trip"

No peak action German Surf Porn Here. If you like Surfer Magazine staff photographer Patrick “Zee German” Trefz’s pulled back black and white images and retro rustic color pictures then you will be happy to know that Trefz has taken the inevitable leap into motion picture, starting with his limited edition short (and I mean short) “Bicycle Trip” and recently released “Thread”. It is my personal belief that if Mr, Trefz was in hell, the demon of the underworld we commonalty know as “The Devil” would force him to make a high definition, slash, bash, spray-in-your-face, quick-clip, high-aerial-surfing-circus-show-down. This description (for those of you who do not fancy that sort of surf film) is quite the opposite of Trefz’s handiwork.

Lets start with Bicycle Trip. It’s not a movie about mashing around on a fixie bike. Rather, it’s a surf film Staring Peter Garaway, a goofy foot, shred stick wave rider who pedals around on his rusty old bike through the majestic beauty of Santa Cruz in Northern California, all the while trailing a legitimate, back-in-the-hey-day single fin sled. The film is a creative assortment of cartoons, landscapes and surfing that expresses the authenticity of surfing Santa Cruz. Bicycle Trip is definitely a nighttime surf flick, best viewed while nodding out after a hardy meal and a few dark, thick beers. The film is only a short fourteen-minutes long, which left me feeling teased and wanting just a little bit more, though the surfing was good in a humble, easy-to-relate-to way. Perhaps that’s what Trefz was going for. Overall, the movie was shot and edited very well and it left me feeling calm and inspired by his creativity.

The line up in this 16mm short consisted of fifteen SC, (Santa Cruz) surfers, two Currens, and one Machado. Directed and produced by Patrick Trefz, shot by Roman “NIYM” Bellisario, with additional footage by Josh Pomer, Graham Nash, and Syrus Sutton. The packaging is super sweet and totally worth mentioning. When you purchase your copy of “Bicycle Trip” it comes in a wooden box that you could use later for your super secret treasures. Inside the box is the DVD, accompanied by a little book showing images of the making of the film. Patrick Trefz is distributing the movie himself, so if you want it, go to www.patricktrefz.com and buy it there. It’s a limited edition of only five hundred imprints, so get it while you can.

“Thread”

“Thread” is Patrick Trefz’s second film. It’s difficult for me to tell you that this is a surf picture because I could just as easily say it’s a movie about creative minds that happen to surf or, in one case, skate. It took a moment for me to get what was going on in the movie because I was blind sided by the direction the film seemed to take at the beginning. It starts off in New York with a bunch of skateboarders barreling down the street shortly followed buy the introduction of a photographer by the name of Michael Halsband, who grew up in the big apple. When I heard his last name I through it sounded like a brand name of a medium or large format camera made in the Swiss Alps or something. Once Joel Tudor was introduced I got the connection between he and Halsband and the pattern of the documentation began to unfold.
Of all the many interesting aspects of this story line the part that hit home for me was I the piece on Joe Curren for these four reasons:

1) I really enjoy photography.
2) Sand Spit looked F@#!$N fun.
3) I like to go to places were I can get good waves and good pictures.
4) I’m big on drawn out bottom turns.

I related the most with Joe or ‘Simple Joe’, as some know him because of those four reasons. Who would have guessed that he is such a good photographer. Even crazier, Art Brewer gave him props for his snaps. What’s more, as a viewer I felt that I was being invited into Joe’s and the other character’s lives in this film. The connection in this film had a lot more strength than what I’ve experienced with other surf docs that I have seen.

As a fan of surfing I often wonder what else competent, professional surferss are interested in aside from surfing. When I see that they have interests that I can relate to I get all emotional. I don’t mean emotional in the since that I am this emocore-indy-pop-alt-rock kid with eyeliner all over my face, suffering from terminal uniqueness thinking that I should be the next Andy Warhol crying about how no one understand my pain. I mean the kind of emotional you get when you watch Brave Heart or big wave movies like Blue Crush (like at the end of the movie when the girl finally drops in on a huge wave and pulls it -I don’t know about y’all but I got choked up. Maybe you can’t relate but that’s how it made me feel. Please hand me a Kleenex. Thank you.)

Thread showed that, once again, Trefz’s photographic talent translates easily into a beautiful motion picture. The film documented the lives and the cultures using a classic, vintage look. The surfing is great, but focuses on a traditional level, rather than mind-blowing-crazy, three-sixty, kick-flip, Fletcher nutso air mac daddy TEE-A-POOO tow at stuff. Although there’s not one single busting of air anywhere in the film, the Long brothers catch some pretty big ass waves in an amazing exhibition of tearing-off-the-top power surfing.

The one thing that I wasn’t too ecstatic about was the calligraphy used to introduce the subjects and/or the segments. The lettering seemed to undervalue the feel of the movie and disrupted the beauty of the imagery. I would of preferred to see something that was more contemporary of the era the movie depicted. However I did a little research and discovered that the letters that were used were created by this guy who stitched the entire alphabet by hand in the said font and then Trefz’s crew scanned the letters and used it for their titles, so the process of how the lettering was created is pretty sweet. Luckily his strength in creating some whoop-ass eye candy is strong enough to overlook this detail.

Thread is defiantly the type of surf flick that you would watch over a fine merlot and some organic pan seared pea snaps with rosemary potato bread and a sweet onion caramelized cheese. I wouldn’t reccommend popping this baby in your Digital Versatile Disc Player wile your doing the Downward Dog and other Yoga stretches before surfing. Save this gem for the evening.
At the end of the movie I didn’t know whether I wanted to pick up a surfboard or a camera. One side of me wanted to fulfill my need to surf and another side called upon my artistic desire to create. All in all in its entirety the movie was a good time and like most products made by Germans is of high quality. I just had a little problem with the font. I would defiantly add this movie to the collection. I’m eager to see what “Zee German” makes next.

Winter ?????

This was one of most memorable sessions in the last five years. I surfed with Adam Repogle and Joe Curren for four hours. I was stoked to surf with those guys. Photo: Trefz