If the wild, edgy, and often controversial graphics of 90s skateboarding drew you in, then you owe a debt to Sean Cliver and Mark McKee. These two artists are the architects behind many of the most memorable designs of that era, graphics that embodied the raw and rebellious spirit of skateboarding. Beyond the skate world, Sean Cliver is also a key player in the success of the MTV show “Jackass,” working on both the creative and business side of the franchise. With the launch of his new board company, Paisley Skates, it’s the perfect time to delve into the mind of this creative force.
As an artist and illustrator, are you influenced by anime or cartoon pornography?
Growing up, I was a comic book enthusiast with a limited social life. So, yes, I was definitely drawn to exaggerated female figures in comic art. However, my tastes evolved significantly when I was 15, after discovering Robert Crumb and underground comics like Big Ass Comix and Bizarre Sex. I also spent a lot of time drawing from nudie magazines because it was a world apart from my own reality. As for anime porn, my work for Hook-Ups was art-directed by Jeremy Klein. He provided the concepts; I simply executed them. He’s one of the best art directors I’ve ever had the pleasure to work with. Klein truly appreciated the artistic side of skateboarding.
Working as a full-time graphic artist can be isolating. Is it difficult to maintain a social life or meet women in this field? What’s your advice for artists looking to date?
There are two types of artists: art fags and art nerds. The former are attractive to women; the latter aren’t. I knew I wasn’t the “beautiful loser” type, so I quickly resigned myself to working alone. Plus, I’m socially awkward and don’t enjoy being around people, so that’s just a bonus. When it comes to dating advice, I’m more of a “how not to” example, given that I had a dry spell of almost a decade.
So, you didn’t have sex from around 20 to 30? How did you cope with that?
Yeah, that sounds about right. I’m not sure if I was depressed, but it probably intensified my sarcastic and cynical tendencies. I never considered using sex workers; that just wasn’t for me. It eventually became a running joke. I dealt with it by immersing myself in my work, doing graphics and writing for Big Brother magazine. It’s funny because most people thought that the Big Brother team were degenerate misfits.
“I didn’t make any of the sex between 1989–1998.”
Have you ever had a female fan who was attracted to you?
I wish. In 1991, CR Stecyk showed some old photos at the Powell-Peralta art department, including one of a topless woman in a car, which perfectly captured everything my art life was not. I didn’t have any female friends until I worked at Big Brother, and even then, they were only guys. Skate graphics generally don’t attract that kind of attention, in my experience.
Have you ever used bodily fluids or blood in your art?
No, but I was fascinated by the story of KISS putting their blood into the ink for a Marvel comic in 1977. Considering how fetish-free I am, I’ve worked with a lot of strange things over the years. It might even get me banned from Boise, Idaho.
Why Boise?
I wrote a controversial article for Big Brother that went off on a tangent about scatology and coprophilia, rather than focusing on the Boise skate scene. I even included a photo of Mr. Potatohead in my toilet. Gershon Mosley, who was living and skating in Boise at the time, took particular offense, leading to an uncomfortable encounter at a trade show.
What exactly happened?
He felt I’d equated the Boise skate scene to a pile of feces, and that this would be its legacy. Shortly after, Dave Carnie interviewed him for Big Brother, and Gershon voiced his concerns, stating it wasn’t right for someone like me to come and label a town like that. Carnie argued that Big Brother’s stories were always unrelated to the featured subject, so it wasn’t as bad as Gershon made it out to be, but he wasn’t convinced. It was just another day at Big Brother.
Did Danny Way threaten you in the World Industries hallway? What happened?
Yes, it was due to a graphic I was creating for Ronnie Bertino when he joined Blind in ‘92. Marc McKee and I were always making fun of Plan B graphics – as did Steve Rocco – so I thought it would be okay to do a “Fresh Freddy Krueger” that combined elements from Sal Barbier’s and Danny Way’s graphics. Danny took it personally and thought it was a direct diss towards Mike Ternasky. I told him it was just a joke about skate graphics, but things were intense at World Industries at the time, so I eventually scrapped the graphic. It became the “Mr. Butts” board instead.
Do you think that mind-altering substances can enhance artistic creativity?
I haven’t tried most of those substances myself, so I couldn’t say. However, they certainly make people believe they are creating masterpieces. I know I wrote several news columns for Big Brother while drinking red wine, which again resulted in some awkward confrontations at trade shows.
What kind of music do you listen to when working on graphics? Any albums that help you get in the zone?
When I worked with Marc McKee at World Industries, we would listen to the same CD on repeat all day, which we called “conditioning.” It drove everyone else crazy and kept them out of the art room. We mostly listened to the first Danzig album or Metallica’s “Master of Puppets”. Nowadays, I watch movies or TV shows for background noise. I never really pay attention to the screen but the noise of Hollywood keeps my ADHD in check.
Do you think skateboard art will ever gain mainstream recognition like pop art? Will it ever be worth millions?
Probably not, but I’m a pessimist. It would be nice, but I think galleries look down upon us because of the mass-produced nature of skateboards. With heat transfer graphics, I can’t blame them. Silk-screened boards felt like unique pieces of craftsmanship. Now they’re like items you would find on a toy store shelf. It’s also irritating when artists who aren’t involved in skateboarding use skateboards as a canvas for their shows.
Most people credit Ed Templeton with creating the Toy Machine monster. Is that accurate?
The original two-dimensional Toy Machine monster with arms was actually appropriated by Ed from another artist. When that artist became aware of the situation, Ed asked me to create a simple, three-dimensional version of just the monster’s head in 1995. I’m not very good at logo design, so I think it’s cool that this version has stuck around for over two decades. Ed also had me create the animated monster intro for the Toy Machine videos starting with “Welcome to Hell” in 1995. I hand-painted around 16 cels for it, and someone at TumYeto made sense of the chaos.
Who is more perverted, Ed Templeton or Jeremy Klein?
Let’s just say you’ll never see Klein taking photos of his or anyone else’s genitals. That’s not to say that makes you a pervert—I have shot my fair share of genitals, professionally speaking. Klein prefers video games, candy bars, and Korean BBQ. Ed, on the other hand, is an international art star.
You’ve been involved with the Jackass franchise from the very beginning. What did you actually do, and how did you get involved?
Jeff Tremaine, Jackass’s co-creator and director, and I became roommates in 1995 after he had a breakup and wanted to move closer to the Big Brother office. I was living in obscurity in a one-room apartment, so I decided to move in with him for a chance at a social life. We were both involved with Big Brother, and I credit him for teaching me to embrace alcohol and channel my misanthropic tendencies in a silly direction. I became his right-hand man at the magazine, and this carried over into Jackass. I was like the straight man in the bunch with a memory and organizational skills. So, all the miscellaneous ideas were given to me for writing into formal treatments that could be presented to the network and studio for approval.
Who do you think has the nicest penis in the Jackass crew?
That award goes to Chris Pontius, also known as Party Boy. He’s got it all and isn’t shy about showing it. He claims he used to dangle pots and pans from it when he was a kid, which might explain its unusual shape. I heard Scott Manning has an even more impressive one, but he’s not as free range as Pontius.
Why do you think that young men have such an obsession with drawing penises?
Penises are inherently ridiculous. I started doing it as a way to make the best out of social situations. Small talk isn’t my strong suit, so a Sharpie became my crutch at a bar. I can’t talk to a girl like a normal person, yet I can ask to draw a penis on them with no problem. It’s resulted in many fun nights and ridiculous photos.
In conclusion, Sean Cliver’s journey as an artist, writer, and producer has been marked by his unique blend of creativity, humor, and rebellious spirit. From the iconic skate graphics that defined an era to the absurd and boundary-pushing world of Jackass, Cliver’s work continues to leave a lasting impact. His unapologetic approach to art and life makes him a true original in the world of skateboarding and entertainment. Be sure to check out his new board brand, Paisley Skates for a glimpse into his latest artistic endeavors.
