FIGHTING Canadian Phantisms

In the hipster slash streetwear art scene, there's no collective hotter right now than the dudes from Fighting. The Canadian duo have illustrated their way into some of the most influential and innovative projects. Working with the likes of Nike, Adidas, and Kokanee, their work has been seen in publications including Made, Arkitip, Tokion and Color Magazine. Plus they have their own t-shirt line to boot. We sat down with Niall McClelland and Lukas Geronimas to discuss art, medieval times and patchwork quilts.

For those who don’t know, where did the name Fighting come from?
Lukas: The name Fighting came as a result of us considering how much trouble it was to get across what we'd like to without any resistance from, well, first off I guess it was professors & institutions, but anyone in general. Friction is a physical force, but there's friction between just about every relationship too. That's our namesake - it's rough out there. Where do your influences come from?

Niall: A hodgepodge of things really, from early science fiction illustration, the work of Push Pin Studios, Frank Frazetta at his darkest and most ridiculous, medieval pieces, most illustrators and comic artists prior to the digital age, I could go on for awhile, lots of contemporary art and rock n' roll too.

How does the collaborative process work in order to create a fluid piece of artwork?
Lukas: It works because our clients and critics say it does. We see everything as a breakdown of what's been done by who, so to us it never looks like one piece of fabric. Instead, I'd say we think of it sort of like a quilt – it's kind of a patchwork of related pieces and because we're clear on how we're approaching the concept, the patches tie in.

Aside from traditional artwork, you’ve had the chance to work with my corporate clients in the past. How has that been, and has it hindered the creative process at all? Do you like working within certain guidelines?
Lukas: I think we like to have guidelines, yes. It's what allows the client to take part in the authorship of the work. It also differentiates the art from the design output. We're not big on compromise; we love to be our own creative directors whenever we can. But someone who knows where they want to take things and knows why they hired us can make a project much more successful from a corporate perspective. It comes down to working within two bounds – if a company wants us in the background, they should take the helm and understand it's mostly about the money. If they want Fighting, then get yer mitts off us and let us do our thing, and congratulate yourself on your tasteful decision.

[ the complete version of this article/interview you'll find exclusive in the printed issue 1 / 07 of stw2d! ]

www.shedoesntloveyouanymore.com | Text & Interview: Clarence Kwan