American artist Amir Zaki documents California’s skateboarding proving grounds in his new tome, California Concrete: A Landscape of Skateparks. Pictured, Slo Skatepark, San Luis Obispo. Photography: Amir Zaki

‘There was concrete everywhere. There was so much terrain,’ describes Tony Hawk of Oasis, a skatepark in San Diego that the world-renowned skateboarder navigated during his youth. ‘That’s when everything clicked for me because I saw the potential and the possibilities.’

“到处都是混凝土，那里有这么多的地形，”描述了位于圣地亚哥的一个滑板公园的托尼哈(TonyHawk)，世界著名的滑板者在他的青年时代导航。“这是当一切都为我而点击的时候，因为我看到了潜力和可能性。”

Hawk and American-Australian designer Peter Zellner preface a new photographic tome by American artist Amir Zaki, California Concrete: A Landscape of Skateparks. The book documents 12 of the state’s most symbolic skating hotspots from San Diego to Sacramento, which came to be adopted by the modern Californian skating community from the 1970s onwards.

霍克和美国-澳大利亚设计师彼得·泽尔纳(PeterZellner)为美国艺术家阿米尔·扎基(AmirZaki，加利福尼亚州)的一部新的摄影巨著“滑板公园的风景”(这本书记载了该州12个最具象征意义的滑冰热点，从圣地亚哥到萨克拉门托，从20世纪70年代开始，现代加州滑冰界就采用了这些热点。

Lake Cunningham Regional Skatepark, San Jose. Photography: Amir Zaki

坎宁安湖区域滑板公园，圣何塞。摄影：阿米尔·扎基

Zaki’s raw, hyper-detailed photography is taken from the perspective of the skater, from decks to bowls, half- and quarter-pipes, encapsulating the sculptural fluidity and liberation presented by these free-flowing Brutalist terrains. Shots of the Linda Vista Skatepark in San Diego and Fillmore Skatepark capture the years of wear that the concrete has endured, highlighting the historic importance of these spaces to contemporary sport and culture.

扎基的原始，超详细的摄影是从滑冰者的角度，从甲板到碗，半管和四分之一管，封装了雕塑的流动性和解放所呈现的这些自由流动的布鲁塔地。圣迭戈的琳达·维斯塔(LindaVista)滑板公园和菲尔莫尔滑板公园(Fillmore SkatePark)拍摄的照片捕捉到了混凝土经久不衰的岁月，突显出这些空间对当代体育和文化的历史重要性

Zaki, who grew up skating in the Californian city of Beaumont, shot each skatepark in the series at daybreak: a time when they were both deserted and flooded with crisp morning sunlight. ‘Each photograph in this series of skateparks is a composite,’ explains the photographer. ‘I use a high-end digital SLR camera mounted on a GigaPan motorised tripod head. This allows me to take anywhere between about a dozen to several dozen individual images of a scene and then stitch them together later in my studio using software.’

扎基是在加州城市博蒙特(Beaumont)溜冰长大的，在黎明时分，他拍摄了每个滑板公园的照片：那时，他们都被冷落的阳光淹没了。这位摄影师解释说：“这一系列滑板公园中的每一张照片都是一种合成。”‘我使用的是安装在吉加潘机动三脚架头上的高端数码单反相机。这让我可以在大约十几到几十个场景的图像之间拍摄，然后用软件在我的工作室里把它们缝在一起。

The resulting collection of images is an honest, unabashed and detailed homage to the sport: a stylisation that Zellner describes as laboriously, expertly composed. ‘Zaki’s digital facsimiles of facsimiles recognise and honour the powerful naturalisation and socialisation of these spaces, while revealing a hybrid artistic practice.’

结果收集的图像是对这项运动的一个诚实的、毫不掩饰的和详细的敬意：Zellner描述为一种勤奋、专业的作品。“崎崎骏”的《面孔相似》承认并尊重这些空间的强大的自然化和社会化，同时揭示了一种混合的艺术实践。”

In an age where skating has arguably lost touch with its counter-culture roots, Zaki’s photographic exploration is a testimonial callback to its origins – a reminder of the importance of space to the nurturing of worldwide phenomena. §

在这个可以说已经与反文化根源失去联系的时代，扎基的摄影探索是对其起源的一次证明性的回溯-提醒人们空间对于培育世界现象的重要性。§

琳达Vista滑板公园，圣地亚哥。摄影：AmirZakiLindaVista滑板公园，圣地亚哥。摄影：AmirZaki

圣荷西湖坎宁安地区滑板公园。摄影：AmirZakiLakeCunningham地区滑板公园，圣荷西。摄影：AmirZaki

圣荷西湖坎宁安地区滑板公园。摄影：AmirZakiLakeCunningham地区滑板公园，圣荷西。摄影：AmirZaki

琳达Vista滑板公园，圣地亚哥。摄影：AmirZakiLindaVista滑板公园，圣地亚哥。摄影：AmirZaki