‘There’s a kind of poetry in how skaters move. It’s a balance of grace and grit.’
Katie Geppert
Australia
May 2025
What is it like being an artist in Australia?
In a way, Australia’s isolation is a blessing. It gives you space to develop your voice without influence and pressure from the larger Art World. That said, Melbourne is a creative hotspot. It’s a city that really loves art and you can feel creativity in the air, whether it’s in galleries, laneways, or public spaces. There’s always something happening in the local art scene, and I’ve had the privilege of working with some seriously talented artists, curators, and galleries here. But the best part of being an artist now is that you’re not limited by geography. I’ve been able to connect and collaborate with artists across the globe. Creativity is universal.
How did you get into drawing?
My siblings and I used to draw all the time when we were kids. My dad would bring home long reams of printer paper and we’d be at the coffee table for hours scribbling away. That’s where it all started. I took art lessons as a kid, kept it up through school, but eventually life got in the way. Once I had a job, art faded into the background. I kept doing creative things on the side—designing band posters, album covers, things like that. Later on, when I traveled to Europe and visited the museums there, it reignited something in me. I felt this magnetic pull to paint again. At first, I’d paint here and there, but over time the urge became impossible to ignore, and I began taking my art seriously.
Where was this urge to paint coming from?
I think it was always there at the back of my mind. Art in school was kind of dull, so I lost interest, but the urge to create never went away. Even when I was working full- time as a graphic designer, I was also playing in a band and doing other creative projects. But I always felt a bit lost, like something was missing. When I got back into painting it’s like I found my way back to that feeling from childhood—where it’s just you and the paper, and nothing else matters. Now I find so much joy and fulfilment in creating art. Painting is how I process the world, it’s where I can truly express myself, and it makes time disappear.
How do you describe your style?
Realism with messy edges. I don’t like things to feel too perfect or polished. To me it’s in the imperfections from being handmade that makes the work feel alive. Colour is also an important part of my work. I try to create work that is honest and emotional. I want people to feel something deeper when they look at it.
What is your medium of choice?
Watercolours and oil paints. They’re so different but both give me room to explore and expand my understanding. Watercolours are light, fast, and unpredictable, and I enjoy how challenging that can be. Oil paint allows me to slowly build up layers and create a richness of depth. Both have their place in what I do.
You include skateboarding in some of your illustrations. Is there a special connection?
Definitely. Growing up, I was drawn to the indie art and music scene, and skateboarding was part of that world. It was always in the background for me. I didn’t start skateboarding until the pandemic. It became this thing I could focus on during lockdowns—something physical, challenging, and fun. Getting involved in the skate community and watching videos really got me hooked. There’s a whole creative culture around skateboarding, and I wanted to capture that in my art. It’s raw, authentic, and a bit rebellious, which I think resonates with my style and personality.
What is it about skateboarding that inspires you?
There’s a kind of poetry in how skaters move. It’s a balance of grace and grit. Skateboarding is so technical and difficult, but they make it look effortless. It’s art in motion, really. But it’s more than that—skaters are creative thinkers, they see the world differently, like a big playground. There’s this mix of nonconformity and freedom, but also defiance, dedication and passion to their craft. That combination inspires me.
‘To me it’s in the imperfections from being handmade that makes the work feel alive.’
Proudest moment?
Standing in the Museum of Contemporary Art in Chicago, USA looking at luxury fashion pieces with my artwork on them. It was part of fashion designer Virgil Abloh’s “Figures of Speech” exhibition. I had collaborated with Virgil for several years, but seeing my art in that space, on that level, was a dream come true. It felt like I was part of a bigger conversation. It was surreal. One of those “pinch me” moments, for sure.
Ever thought about becoming a full-time freelancer?
I’ve tried different paths—starting my own business, juggling multiple jobs, working for free, you name it. In reality, when I was working full-time for myself, I worked non- stop and found it isolating. I don’t see it as a mark of success anymore. Now I work part-time, which provides me freedom to experiment and flexibility to only take on creative projects that light me up. Also, you can learn a lot by working in a company, while getting paid for it. I enjoyed working for myself, but I’d approach it differently next time. My vision would be bigger, like building a business or a brand—similar to Kaws, David Shrigley or Tracey Emin, those artists who have teams behind them.
Are there any skateboard-inspired artists that you follow and what inspires you about them?
Yeah, for sure. Locally, I really like Kit Bennett. His ground murals are wild, and they have this great sense of humour. He’s done a few on skate parks, you really need to see them from above with a drone or on Google Maps. They’re playful, but also smart in how they interact with the space. Then there’s Ed Templeton—he’s a legend. His work captures the soul of skate culture. His photography and paintings are about the people, the scene, and this feeling that you’re part of it. I love how raw and unfiltered his work is, there’s an honesty to it.
‘There’s a whole creative culture around skateboarding, and I wanted to capture that in my art.’
Which board company grabs your attention in terms of their graphics?
Marc McKee’s work for World Industries changed the game. It wasn’t just art—it was commentary. Provocative, clever, sometimes shocking, but always on point. World Industries broke the rules. Marc didn’t just design boards; he created narratives. His work has a sense of humour and edge to it, challenging norms and expectations. His designs are part of skateboarding’s visual history. They’re iconic because they captured a moment in time while pushing the boundaries of what skateboard art could be.
What does your dream assignment look like in terms of brand and scope?
A project that blends art, fashion, music, and film. To me art is limitless and genre- less. It can be anything. I love pushing myself and seeing my art evolve across different contexts, whether it’s on a garment, in a gallery, in video, or on a building. I love to collaborate, so working with a brand or team of forward-thinking creatives, each bringing their own strengths is always exciting. My vision is to have my art seen by as many people as possible and inspire them. It’s about connecting with people, having conversations and making an impact on a global scale.
Last question. If you could interview any person in the world, who would it be?
Dead or alive? David Bowie, for sure. He had such fearless creativity. He lived life to the fullest and always seemed to be ahead of the curve, whether in music, fashion, or art. I’d want to ask him about what drove his creative process and how he managed to constantly reinvent himself in the different phases of his career. Someone alive, I’d say Banksy. His anonymity is cool, but I’m interested in how he comes up with ideas that are so powerful in their simplicity. His work cuts straight to the point. It’s confrontational, thought-provoking and at times genius in how he uses humour. I’d love to know his thought process.
Katie’s original interview appeared in Backside Vol14