Hypeart Visits: FriendsWithYouThe LA-based artist duo reflect on their ever-expanding Little Cloud cosmos and play as the medium.By Erin Ikeuchi
In a world that often mistakes cynicism for sophistication, FriendsWithYou is on a mission to spread the good gospel of play. Founded by Samuel Borkson and Arturo “Tury” Sandoval III in 2002, the Los Angeles-based duo have nurtured a practice defined not only by its soft-smiled characters, but the reimagination of spirituality for an era defined by nihilism and corporate exhaust.
Their work has spanned across sculpture, toys, painting, animation and even dancing robotics, yet in conversation with their aesthetic signature, it’s a steadfast commitment to joy, nature and togetherness that make up the contours of FriendsWithYou. “Soft power is how we win,” Borkson told HypeArt. “Something fluffy and sweet can offer something more powerful than a punch in the face.” There’s strength found in the sincerity of it all, and power in reclaiming a forgotten sense of whimsy.
For this edition of our Visits series, we called up with Borkson and Sandoval to discuss the tensions between cool and cute, their ever-expanding creative cosmos and their first long-term museum installation, Little Cloud Sky, now on view at the Seattle Art Museum.
“We saw a need for the reemergence of a modern spirituality, and FriendsWithYou gave us a means to battle forces of sadness and isolation, with cuteness and joy as our secret weapons.”
In your own words, what is the FriendsWithYou origin story?
Samuel Borkson: It all happened organically. We both had a real love for humanity and saw that people were growing colder and darker in their isolation. We saw a need for the reemergence of a modern spirituality, and FriendsWithYou gave us a means to battle forces of sadness and isolation, with cuteness and joy as our secret weapons.
When we started this, nothing was cute — everything was about being cool. We were just guys living in Miami who wanted to spread love and kindness in a way that was healing and powerful. It was our way of being superheroes in the world.
Arturo Sandoval: The a-ha moment came when we first worked together. Our first project was a collection of plush toys — conceptual artworks that functioned as amulets for the contemporary age. Right after we did the toys, we tried installation and performance, and thought, ‘This is working.’ It was north of how we intended to express ourselves, but it guided us through multitudes of artistic expressions. Even 25 years later, we’re still trying to figure it all out.
In embarking on a path of spiritual connection to the world and ourselves, we took on this punk rock, naive version to the traditional white-walled gallery dynamics. We weren’t aspiring to exist in a small niche within the art world. We wanted our work to get to everyone.
How do you see these concepts of cute and cool talking to, or finding tension with, one another?
SB: Cute has become a major player in this world. People want to be loving and cute and now that’s become cool. We started this at a time when everybody was so apathetic, giving up and becoming corporate. Humans need to be the loving force and the pursuit of “cool” started to steer us away from that.
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Little Cloud has become an emblem of FriendsWithYou. How did you land on this character to symbolize your mission: “magic, luck and friendship”?
AS: Animism is a key component of our practice, so, for us, Little Cloud embodies the idea that someone, even if hanging above, will always have your back. It’s a condensed expression of our core philosophy: optimism, lightness and not taking yourself too seriously. Letting it pass and letting things change.
Little Cloud sky-scapes have made stops all around the world. What do you hope audiences take away from your ongoing Seattle presentation of Little Cloud Sky?
SB: We’re interested in psychology, comparative mythology, relational aesthetics and the simplicity of the human mind. We’re seeing all of humanity through this character, like a reflective point. The presentation at Seattle Art Museum is a big moment for Little Cloud: there’s an army of them, it’s as if they’re in-step, making this sacred geometrical pattern in the sky to show the importance of the message we’re trying to convey. As simple or as vapid as it may seem, Little Cloud has the ability to draw everyone in, regardless of age or language, to be in sync with us.
In addition to your signature soft flair, there’s a formal curiosity that threads through your practice. Out of all the different mediums you’ve explored, which do you find yourselves drawn to? Does the message dictate the medium?
AS: The message does lead some of our projects, but some mediums are conduits to feelings you can’t get out of others. We’re not selling craft, so it’s less important to us whether we’re the best oil painters or sculptors in the world. It’s more about the conceptual framework, which is why we also give ourselves the latitude to try new things and focus on the message we’re trying to get across.
Some artists become so enthralled by mastering just one medium because it feels good to know you can totally control a material, to know that you’re really good at it. That, however, can be its own kind of drug, one that just holds you in one place. We always try to change things up. We don’t have the most by-the-book approach – it’s a little bit risky – but we’ve built our whole career outside of the norms.
“We always try to change things up. We don’t have the most by-the-book approach – it’s a little bit risky – but we’ve built our whole career outside of the norms.”
From an outsider perspective, your work is especially exciting because you keep it really fresh. Audiences never know what kind of work you’ll make next.
SB: It’s fun for us too. We’re really good at stuff, like kids animation, clay objects or weird 3D printed sculptures, and the idea is that if we keep on this path, we’ll be able reach millions more than just the 4,000 people in the art world. Even if the direction isn’t always crystal, step-by-step, we’re building this rainbow bridge and asking everybody to come along.
AS: Our dynamic is like any relationship: you have to incorporate new modalities to challenge yourselves and learn new things together. It’s what makes you grow.
“We often forget that play is key and not knowing is a superpower.”
There’s a tangible sense of play that’s central to all your works. Can you describe where this feeling stems from and how it shapes your artistic approach?
SB: We both had to grow up pretty quick — Tury growing up in Cuba and myself in Florida – so there’s a freedom that comes with being able to play. Play allows us to be forever inventive. This obsession is quite beautiful to us – the curiosity, the unknown and having a eureka moment when you come onto something new. You’ll surprise yourself with beautiful things you’ve never thought you could make.
Once the market picks up your work, you get excited about it, but at the same time, there’s a pressure to keep following the same formula that led to that success. If you’re an amazing painter, make a film, try performance art. All we can do as artists is embody freedom because it’s what the algorithm of trying to appease the world tries to drain us of. We often forget that play is key and not knowing is a superpower.
AS: Our own experiences gave us a way of moving through the world that was weird and fun and exuberant; it allowed us to be kids again. Growing up can take this way of thinking away from your being, and it almost feels like a theft. Ever since our first wave of works, we’ve anchored ourselves with the goal of giving people an opportunity to play, to allow them to shout and be exuberant — even in front of the adults.
Portrait by Chloe Collyer. Photography courtesy of artists and the Seattle Art Museum.
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