October 22, 2024
Meet Dylan, a talented Sandblaster & Painter at Seaspan’s Vancouver Shipyards who brings a unique perspective to shipbuilding. With a background in industrial painting and film, he finds beauty in the intricate processes of the shipyard. When he isn’t listening to The Tragically Hip, you can find him freehanding impressive designs on our ships.
Dylan, who has been with Seaspan since 2022, freehanded the iconic Canada logo on the CCGS Naalak Nappaaluk, along with many of the OOSV’s identifiers and emblems. Below, he shares his artistic journey and the creative challenges he embraces in our dynamic environment.
What drew you to Seaspan and what’s it been like working here?
I think I was ready for an adventure, a challenge. I’d always had a curiosity about ships in general. It feels like going to the Discovery Channel for work every day, because there’s all sorts of stuff you’re learning and being challenged by. A lot of the work being done here is quite new for our community, or at least it’s coming back after a long time without real shipbuilding. That means processes and techniques have to be figured out as we go, and I love that kind of creative problem-solving. It really keeps me motivated. There’s also a lot of pride in the ship itself; you start getting attached to them.
What was your professional journey before coming to Seaspan?
After facing challenges in my previous work, particularly with the film industry taking a big hit from the writers’ strikes, I decided it was time for a change and applied to Seaspan. Before that, I worked for a company called CCS Industrials for three years, where I learned the basics of industrial coating, which involves more functionality and rules than traditional painting. I gained valuable experience on projects like dams and tunnels, which prepared me for the work here. I hadn’t done industrial painting for a while, but it’s funny how that knowledge comes back—like riding a bike.
How did the idea of freehand painting on the OOSV come about?
That was all about efficiency and experience. I’ve done sign writing in the film industry, and I felt confident with it. When I looked at it, I said, ‘You know, I can freehand that thing.’ The team was really supportive of that idea and my boss was very encouraging, which I thought was awesome. Having that kind of confidence is hard to come by in the film industry and other places and I think it’s indicative of what it takes to build ships—there’s a lot of courage involved.
How does our work environment influence your art?
Working here is like a hive; when there’s good energy, it significantly impacts the day-to-day atmosphere. Everyone’s mood and energy comes through in such close quarters. Sunny days are fantastic, while in winter, we try to combat the dreariness and infuse some enthusiasm and humour. Shipbuilding has its own culture, a hyper-intensive workspace with deep interpersonal exchanges. With my art history and critical theory background, I see beauty even in what might seem harsh or oppressive environments. There’s something unique to discover here, whether it’s catching the sunrise reflecting off containers, creating amazing lighting effects, or being so close to the ocean and developing a relationship with the earth. That connection is genuinely motivating.
How do you hope to integrate your experiences into your future artistic projects?
My experiences at Seaspan have profoundly influenced my artistic direction, particularly through the unique environment of shipbuilding. I’ve come to appreciate the beauty in the often-harsh industrial surroundings, such as the interplay of light on steel and the intricate textures of the materials we use. This has led me to envision future projects that blend painting and sculpture, potentially using steel elements in my work. I’m particularly interested in exploring interdisciplinary approaches that challenge traditional boundaries between different art forms.
You can view more of Dylan’s artwork at his website: https://www.dylanhumphreys.com/