In the vast snowboarding archipelago, Every Island Has A Name—it’s up to us and our feelings to decide which one. “Every Island Has a Name” is the visual project directed by Achille Mauri driven by Severin van der Meer, a sensory journey that pairs Arc’teryx’s aesthetic with the multidimensional and universal rhythm followed by the snowboard imagery—by those who live it, or observe it. Continent after continent. Trick after trick. Juxtaposition after juxtaposition. The Arc’teryx Winter Film Tour offered the chance to dive in this athletic flow of consciousness, blending contemporary art with the awe-inspiring spectacle of snowboarding. This film elevates snowboarding to a muse of infinite possibilities. Achille Mauri’s reflections, along with his personal story, help unlock the meaning behind “Every Island Has a Name” and guide us through a new, contemporary chapter in the visual narrative of snowboarding.

What are the origins and meanings of “Every Island Has a Name”? How have you conveyed your artistic vision within the world of snowboarding?

“Being a director in the world of snowboard videos is not easy. It’s a space where a lot of dynamics are already well-established, especially in terms of the people involved and the human—and artistic—connections. The chemistry that develops over time between a filmmaker and a snowboarder is something deeply rooted; it’s something complex to penetrate in terms of direction and narrative. That’s why I preferred to take a step back, and focus on observing the beauty of the sport—a unique beauty that is inherent to the practice itself and has always fascinated me. In my eyes, snowboarding is an art form, and snowboarders are artists—land artists. So, I decided to pair specific environments with works of art, creating segments that are visually populated by similarities. The title reflects the idea of transitioning between settings, elevating the features of each one. Snowboarding is like a joyful archipelago, where you can move between different islands, discovering details, shapes, and new things that are hard to name. “Every Island Has a Name” is inspired by this concept, and by the feeling that, while traveling to these snowy destinations during the riders’ ‘missions,’ I always felt like I was in the song ‘People Are Strange’ by The Doors—a cliché, but totally true. The film and title reflect this idea of personal interpretation of each place, with the idea that the rider, like the viewer, can visit different ‘museum’ and ‘visual’ rooms, immersing themselves in three thematic environments that I also recreated at a recent event at Spazio Maiocchi.”

What is your relationship with this sport / art form? And how has the evolution of your personal path influenced “Every Island Has a Name”?

“I started snowboarding at a young age—it was definitely a life-changing sport for me. It’s a sport connected to the street culture, the underground scene, music, art… In the beginning, it simply meant doing something rebellious in crazy places. I was born and raised in the province; my father didn’t allow me to skate in Milan, but he let me snowboard in the mountains. He wasn’t aware that I could take just as many risks or do equally dangerous tricks—he had the traditional idea of skiing in mind. Snowboarding taught me to respect the mountain and, at the same time, to embrace its alternative spirit. The ‘delicacy’ of “Every Island Has a Name” comes from this experience, and from a subsequent break, which kept me away from the board for a few years, before evolving into a new, different and stronger love. I was part of a generation that grew up with YouTube videos filled with loud music and adrenaline-pumping visuals—powerful, mainstream short films. When I reconnected with snowboarding, I immediately tried to see it in a different way, aiming to convey its beauty and purity. My fundamental mission is to rewrite the visual narrative of this discipline from zero, based on new influences and crossovers, and—why not?—to even open the doors of art galleries to snowboarding. I believe snowboarding deserves a certain level of elegance and a different energy—one that could help it reach a wider audience.”

What are the most relevant islands of your snowboard archipelago?

“A first island is, for sure, the sight of an avalanche. An event that scared me and made me realize how powerful something I had always taken for granted really was. The second island is sharing snowboarding with the person I love. Through love, I fell in love with this sport all over again, seeing it through my partner’s eyes, and realizing that there was something right in my connection to snowboarding. Love helped me reinterpret it: it became an atoll, not just a simple island—a real new chapter in my life. The third island is inspired by my father, who allowed the origin of my passion.”

“Every Island Has a Name” was born thanks to Arc’teryx and Severin van der Meer. What was it like collaborating with them and the other riders involved in this production?

“Arc’teryx is a brand with beautiful, meaningful DNA that makes you feel confident you can land on your feet with any project. It’s connected with great personalities, both in terms of athletes and ambassadors. It’s one of those brands you want to work with because you know you’ll be collaborating with professionals you hold in the highest regard, and with whom you’ll create perfect synergy. Like Severin van der Meer, who directly involved me in this project. The connection with the art world was beautiful because it allowed the production to be real, also thanks to the creative perspectives of all the riders. Seeing them in action was incredible. Severin, in particular, is a real fox—he’s super hard to follow when filming, and that’s a treat for me. It’s like sugar. You just have to point the camera, and follow someone filling your frame with perfect action—it’s priceless. The same goes for the other riders and their respective styles. I have a lot of respect for the people I shared this project with.”