Words by Johanna Harlow
Most of us enjoy the surf and sand, but Brighton Denevan digs deeper. To this local land artist, a beach isn’t just a beach—it’s an expansive canvas.
“I think the framing of this cave is really nice,” Brighton notes, shovel in hand as he surveys a small cavern in the cliffside at San Gregorio State Beach. Despite the icy wind gusting outside, he’s in flip-flops—a Santa Cruz native through and through. A partial pattern in the sand spiderwebs beneath his feet.
When passersby stumble across one of Brighton’s massive works, they might attribute it to aliens enjoying a beach day, leaving crop circles in their wake. Brighton’s artistic dialogue with the elements has taken him across California and the states beyond, as well as countries like Mexico, Colombia and Saudi Arabia. His patterns vary from spiraling to labyrinthine, radial to patchwork-like—many with the intricacy of Celtic or Mayan detailing, some with basket-weave textures or florals. He also seeks inspiration from the Fibonacci sequence, a naturally occurring pattern found in everything from pinecones to nautilus shells. “There’s so much freedom beyond the gallery walls … It’s not constrained within the frame of the building,” says Brighton, who favors a rake for his alfresco artwork. “If it’s out in nature, it’s wild and spilling out into the world and forces are acting on it.”
Photography: Johanna Harlow
Beach Boy
With a deep tan from countless beach days and eyes a coastal blue, it’s not surprising to learn that Brighton grew up a stone’s throw from the Pacific. He spent a spirited childhood running along the Santa Cruz bluffs, splashing in the surf and watching his dad work the sand. “In the ‘90s, I was always hanging out with Pops,” says Brighton, explaining that his father, Jim Denevan, is also a land artist. In those early years, while Jim dragged a big stick or rake across the shoreline for hours on end, young Brighton would make his own miniature versions. “I’d be trying to entertain myself. I’d be making little sand sculptures, little worlds in the sand,” Brighton recalls. “It taught me patience,” he laughs.
Watching a sand master at work seems to have been an education by osmosis for Brighton—though at first, he didn’t consider sand art an option because he didn’t want to simply follow in someone else’s footsteps. For years, Brighton told himself, “That’s dad’s thing. I can’t do that.” He adds, “I hadn’t broken out of the box I’d put myself in.”
Photography: Brighton Denevan
That changed during the pandemic. “It led to me wanting to break through all the barriers and do some experiments,” he shares. The practice quickly became a passion, developing into 20 to 40 designs each month.
These days, father and son often collaborate on projects. “We both have our ideas and bounce them off each other, which makes both of our stuff better,” says Brighton. Partnering on a number of sand designs does lead to certain similarities in styles; though as Brighton sees it, “Nature’s the original artist. We’re just copycats.”
Photography: Brighton Denevan
That said, Brighton has forged his own path. “My father has always had this obsession with doing the biggest thing ever,” he chuckles. “At one point, I was driving a circle at a hundred miles an hour and you could barely even tell it was a curved line because the thing was as wide as a city.” Brighton, on the other hand, prefers “smaller,” more intricate designs. “I’ve really been enjoying doing stuff that’s 30 feet across,” he says.
Sandy Synergy
It was Brighton who introduced aerial photography to the family art. In the early days, Jim positioned his designs close to cliffsides to give onlookers a seagull’s eye view. Even so, “It’s an oblique angle,” Brighton observes. By also running a drone business, Brighton can showcase his creations (as well as his dad’s) right above the center point. That advancement in aerial photography also ensures easy preservation of their designs long after high tide sweeps the shores clean.
Photography: Brighton Denevan
As Brighton reminisces on his many projects, he fondly recalls a collaboration with a landscaper friend. After his buddy showed up at one of Brighton’s radial sand labyrinths with a dozen discarded Christmas trees in tow, the two set to work installing them around the edge of the circle. “It was amazing seeing the forest on the beach and walking amongst the trees,” Brighton recalls. “And then me and my buddy doused them in some flammable stuff and we lit them on fire. It was insane.”
Another favorite project was one Brighton made with his dad for the Desert X international art exhibition in Saudi Arabia. “Angle of Repose” consisted of 364 concentric circles composed of pyramid-shaped sand mounds that ranged in size from bread loaves to small houses, with a mountain of firewood at its center. The installation was so visually stunning that singer Alicia Keys danced among its hills. Brighton describes the sun casting shadows that played across the mounds throughout the day. “And at night, when you have the fire coming from the center, it shoots all the shadows perfectly, radiating out like a flower.”
Photography: Johanna Harlow
Shore Shout-outs
“File this under things I didn’t know you could do with a rake! Beautiful work,” actor Will Smith commented after reposting one of Brighton’s designs on Instagram last year. He’s not the first celebrity to take notice. Ed Sheeran hired Brighton and other “sandy people” for a campaign to promote his album Subtract, with each artist contributing a piece that represented the album’s different tracks.
Brighton has recently received recognition for adding text to his designs—everything from Queen lyrics to The Big Lebowski quotes. “Several bands have reposted my stuff,” he says, listing shout-outs from Green Day and Limp Bizkit. Many sand artists are more meditative and like to work silently, their only soundtrack the crashing of the waves, Brighton explains. But “music’s really important to me … It’s about high-energy music going in the background and running around.”
Photography: Brighton Denevan
Brighton adds that he likes the poetic potential of the sand messages. “The waves will erase some of the words and it’ll actually give it a new meaning.” He’s also started playing around with optical illusion letters and different fonts (like “sands serif,” he jokes).
Down to the Grain
As Brighton continues to explore environment-as-medium, his experienced eye assesses the topography of the shoreline and even the size of the sand granules. “Bigger grains mean the sand dries out faster,” he explains. This causes messier designs. Wet sand, on the other hand, means crisp patterns. Weather impacts the final result too: “If it’s really sunny, it might dry it out. Or if it’s windy, it might just turn it into sand dunes.”
Photography: Brighton Denevan
Brighton also pays heed to the color of the sand. “In Saudi, there was this beautiful golden sand like I’ve never seen before,” he reflects, adding that there’s another continent where he’d like to do an installation. “There’s some sand in Africa that’s the color of red velvet cake. And it’s sitting right next to white clay, because it’s different weight. That would be really fun to get into.”
No matter where Brighton finds his sand, one thing will remain as constant as the tide: the results will be otherworldly.