The Vision Behind (sidewalk) chawk with Cole Seefus
By Natalie McCarty
I met Cole Seefus in Phoenix, Arizona, where he was behind the counter at a coffee shop, and within minutes, our conversation unraveled into something far bigger than my latte order. It was the kind of effortless exchange that happens when two creative paths have already crossed in ways neither of you realized: through shared circles, overlapping inspirations, and that inevitable moment of recognition—Oh, that’s why you look so familiar. But beyond the overlap in our worlds, what struck me was his story, one deeply rooted in love for his art and the community that shapes it.
Image Credits: Samantha Alen; Cole Seefus
Cole carries his creativity the way some people carry a well-worn notebook: close to the chest, always ready to pull something from it. His approach isn’t shaped by fleeting trends or industry expectations. It’s instinctual, raw, and deeply powerful.
At the heart of that approach is his project, (sidewalk) chawk, a clothing label that feels less like a brand and more like an evolving dialogue of memory, art, and a sense of place. Each piece holds a narrative, a fragment of something real, whether drawn from his own life or the people who inspire him. His latest project extends that philosophy outward, using fashion as a means of giving back, with 30% of net sales supporting Los Angeles fire relief efforts.
In the conversation that follows, Cole shares the ethos behind the brand, his creative process, and the ways in which art and community continue to shape his work.
Image Provided by Cole Seefus
Background and Inspiration
Can you tell us a little about your background and what initially inspired you to create (sidewalk) chawk?
Part of why I named the project (sidewalk) chawk is because I don’t have a technical background or formal training in art, photography, graphic design, or anything that I’m pursuing. It’s been a constant process of trial and error, and to me that somehow makes it more honest. It’s rooted in the idea of creating art with whatever is at your disposal with whatever ability you have. And what better illustrates that than a kid, some chalk, and a sidewalk?
Was art always a part of your life growing up, or did you discover this creative outlet later?
I grew up in the Midwest, so I was conditioned to focus on more practical aspects of life or at least more practical career paths. But I had a creative streak that wound up winning my energies in adulthood. I think people don’t realize that all the work I print onto clothing is my own, including the words. So when they learn that, I always comment that writing was my first medium. I took a lot of pride in my articulation of ideas and storytelling throughout my years in school. And it’s continued to evolve. I’m still honing that, I’d say.
Image Provided by Cole Seefus
Were there any artists, moments, or experiences that influenced the aesthetic and mission behind your work?
I take a lot of inspiration from politics, spirituality, and their intersections. But because I work primarily as a photographer and writer, it’s all really an ongoing dialogue between myself, my surroundings, the people in my life, and the inner world informed by those. My parents are gay, and I was conceived from artificial insemination in the early 90s in a deep red state, so I’ve always taken a somewhat obsessive interest in politics and how they’ve developed.
Image Provided by Cole Seefus
If I had to point to artists, though, I think I’d have to name music artists like Blood Orange or Dev Hynes, Kendrick Lamar, Jockstrap, Portishead, Jamie xx, fearofmakingout, Type Foundry, Droll, New Misphoria. Oh, and Charli xcx but specifically the brat album. There’s more, and I’ll probably regret not listing them when I think of them, but that’s top of current mind. Maybe it’s because I’m not musically inclined but still very picky, so when something hits for me musically, I get really into dissecting it.
It’s also no secret that I admire Online Ceramics a great deal. I started in 2016 like they did, and we seem to work with a lot of common themes.
As a last note, and I believe this is true of all art, but I often view my work as the world speaking through me.
Image Credits: Everett Milloy; Cole Seefus
“The art feels less like solely me and more like a conduit to something bigger than me. ”
Image Credits: Nicholas Brewer; Cole Seefus
Creative Process
What’s your process like when creating a new design or product? Do you start with a clear vision, or does it evolve organically?
It fluctuates a lot, even if I’m working on a collection. Sometimes I’ll have a theme or concept in mind, and an image from my archive will fit the idea, and other times I’ll need to coordinate a shoot specifically for it. Or other times still I’ll make a new photo or come across one in my archive that sparks a new idea, and I run with that. I guess it’s similar to that concept of letting the world speak through me. I keep myself adaptable to wherever and however the work can come together. As for product, I have ambitions to broaden beyond clothing, or even within clothing, to develop my own silhouettes. But I have to remind myself not to rush. Right now I’m just having fun with staple products and found vintage garments. The rest will come together in time.
Image Provided by Cole Seefus
Many of your pieces carry a sense of dialogue and energy—how do you balance that raw, creative spark with the practicalities of running a business?
The short answer is I don’t really. I have an acute awareness of my limited resources, which keeps me from overproducing or overextending, but that’s really the extent to which I look at this as a business. I find that the less I think about sales or trying to fit a certain audience, the more expressive my work becomes, and ironically the better my sales tend to be. Eventually, with scale, I’m sure I’ll have to put a more business oriented framework around it, or at least bring people on whom I trust to take a more business focus with the project, but right now I just trust the path I’m on. Things tend to shake out the way they need to.
Can you walk us through a project you’ve worked on that you’re particularly proud of, from concept to execution?
In 2023, I released a capsule under the title “I SEE YOU (UNIVERSE) DANCING IN THE STREET.” It was comprised of 3 designs revolving around the idea of spiritual animism, or the belief that everyone — or even everything — is a manifestation of the universe, or god. One of the designs featured 3 photos of 7 people dressed in different colors of the rainbow in a circle getting closer and closer into an embrace with the words “You can see the universe expand and contract in a hug.” Another showed a photo of a hand floating from outside of frame resting on an old elliptical machine. The whole thing was framed with barbells, and above and below the graphic were the words “I am the universe experiencing itself, and I must complete my daily calisthenics.” On the back it read “You are the universe experiencing itself, and you should complete your daily calisthenics.” The third had a long exposure, somewhat abstract photo of a friend running in the desert, his movement making him appear otherworldly or spirit-like. On the front was the title of the show and the back said “This is a spiritual and political endorsement. Even if unintentional — life (and god) speaks to us through serendipity.” I also then put out longer forms of the writings featured in the initial graphics. I enjoy putting out thematic collections of work, but I usually get around to it maybe once a year.
Image Provided by Cole Seefus
Image Provided by Cole Seefus
The Business Side
What has been the most challenging part of turning (sidewalk) chawk into a business, and how have you overcome those challenges?
I’m still overcoming them. I’ve only recently taken it full-time, but even then I keep a part-time job to help ease the financial swings. For a lot of smaller artists like myself, distribution and audience-building are major impediments. But I believe with time, authenticity, and consistent effort — including continuing to put myself out there — the traction builds. I’ve caught some flack over the years for certain methods of self-promotion, but if you don’t have industry connections, the only way you’re going to make inroads is by having those conversations. Not saying I or anyone should push our wares like a sleazy car salesman, but if you chat with someone and think they’d appreciate your work, speak to it. People are warmer and more open than we sometimes are led to believe.
Image Provided by Cole Seefus
As an artist and entrepreneur, how do you approach connecting with your audience and building a brand that resonates?
It’s the worst, least efficient way to do it, but I’ve gotten where I am primarily through in-person engagement. I’ve probably met, at least briefly, the majority of people who have bought (sidewalk) chawk, and I’ve told almost all of them — and with all the gratitude in my heart — that they aren’t customers; they’re patrons supporting my art. Eventually I need to find more efficient means of outreach, but it’s difficult sometimes for someone looking at a t-shirt to realize that those graphics aren’t some public domain or licensed out abstraction. It’s when I walk up and explain that I made those photos and wrote those words that they take them in the way they would an artwork in a gallery or museum. Because that’s really what I’m offering. It’s just printed on a shirt rather than on a canvas.
Image Provided by Cole Seefus
Philanthropy and Vision
30% of your net sales from Dialog are going to relief efforts in LA. Can you share what motivated that decision and why it’s important to give back to the community?
I love LA. I have a number of friends who live there, and I go back-and-forth between here in Phoenix and there as much as I can afford to. I feel a certain obligation to help in some way. I’ll probably do more of that in the coming years because rebuilding will take time. And giving back to our communities is important because it’s a recognition of our togetherness. It’s the same thing as helping out a friend or relative in need. But bigger. And in times of macro level suffering, we have to think bigger.
Image Provided by Cole Seefus
How do you see philanthropy shaping the future of (sidewalk) chawk and your personal mission as a creator?
I hope to have the means to make more meaningful differences in time. A thought I like to mull over a lot, if I had the platform and resources, would be to help give larger scale opportunities to under-represented artists in flyover or neglected parts of the country, or even world. It’s difficult to make a living as an artist generally, but if you’re from the Midwest or even rural parts of California, or the IE, or outside of metro Phoenix in Arizona, and you’re drawn to art, it’s almost even worse than a pipe dream. So I think I’d love to shine spotlights on those areas and more. But I think we’re going through a lot of environmental, economic, and political turmoil in the meantime. I’m always going to look for avenues to facilitate or support progressive solutions. Even if sometimes I feel impotent or ineffective, small pebbles can still ripple.
Image Credits: Isaiah Romero; Cole Seefus
What’s next for (sidewalk) chawk? Are there any upcoming projects, collaborations, or plans you’re excited to share?
I’m a ways from finished, so it feels like jumping the gun to say I want to release it in spring, but I’m working on a new capsule. The current title, which I believe will be the formal title, is “Maybe heaven is forgetting.” I don’t have too much to share because I’m still concepting much of it out, but the recent design that says, “You have seen trees dancing without knowing it.,” will be a part of the project. Fingers crossed I can get it out sometime in April or May.
Image Provided by Cole Seefus
