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Nothing in life is worth having without a little danger.
Images by: Gerseys and Brazo de Hierro - Words by Cordell Murray and Eric Zhang
On the occasion of the release of Ghost Motion, a film shot by Dosnoventa in New York City, we hosted a conversation between one of the video’s protagonists, Eric Zhang, and Cordell Murray, fixed-gear rider from the New York scene, former bike messenger, and founder of Stay Alive Studio.
Riding no brakes, the city, friendships, shared interests and passions, and an enduring desire to stay real at any cost.
Eric Zhang:
Every time I watch your videos, I see many comments questioning the absence of helmets, describing it as dangerous or irresponsible. It feels natural to ask: why do you choose to film cycling this way, even if many people do not understand it?
Cordell Murray:
I grew up working with photography and video, documenting my family, partners, and close friends—trying to turn relationships into images. When I started riding, I realized that most brands did not represent people like us in a compelling way. We embodied urban cycling, yet we were absent from campaigns, imagery, and sponsorships.
So I began documenting my community—my friends—in an honest way. The element of danger is part of that reality. What we do is not controlled or symbolic; we ride brakeless through traffic in a city like New York. It is intense, and that intensity shapes the imagery.
Now, seeing a new generation like yours, I am curious—how did you come to fixed gear riding? What led you to embrace a brakeless approach?
Eric Zhang:
Before cycling, I was collecting sneakers. About five years ago, I bought my first fixed gear bike while looking to replace an old one. I came across a brakeless setup online and became curious about how it worked.
At the time, I was in middle school, and I noticed someone at school riding fixed gear. That influenced me, so I got my first track bike.
Cordell Murray:
Did it feel dangerous at first?
Eric Zhang:
At the beginning, I did not even know how to brake. I installed a front brake and rode casually until I met someone connected to a fixed gear community in Shenzhen. He introduced me to a larger group, and that is where I really started learning.
Initially, I was afraid to ride in traffic, but I improved quickly. Being part of that community also influenced me creatively. I was not originally focused on art, but through my friends I started DJing and working with photography and video.
When I later came to New York, everything expanded further. I drew a lot of inspiration from the previous generation. Being in the same places and environments gave me a sense of continuity. It felt like being part of something that had already grown—and being accepted within it helped me develop, both as a rider and as a person.
I have spoken about my generation, but I am curious—what was your experience ten years ago, before the internet played such a central role?
Cordell Murray:
Ten to twelve years ago, I knew nothing about fixed gear riding. My focus was entirely on photography and video. After finishing high school, I spent most of my time moving through the city—Union Square, the Bronx, Dykeman, Harlem, the Lower East Side—documenting people and posting on MySpace.
Later, when I moved to Williamsburg, I wanted a faster way to navigate the city. I avoided public transport and turned to cycling. My first bike came from a roommate—initially borrowed, then purchased. From that point on, I was constantly riding, always with a camera. I began noticing different cycling subcultures—fixed gear, BMX—and eventually someone from the messenger community handed me a flyer for an alleycat race. I attended in 2013, and that experience defined everything. Seeing that environment—bikes, jerseys, identities—made me realize I had discovered a hidden community. From there, I immersed myself in videos and imagery. That 2013–2016 period became foundational for me. It continues to inform my work and perspective today.
So I am interested—what inspires you now? What do you see today that defines your direction?
Eric Zhang:
In my generation, entry into fixed gear culture often happens through the internet rather than physical interaction. In my city, there are relatively few riders, so many connections begin online.
At the same time, digital platforms provide access to a vast archive. Early in my riding, I discovered older videos from previous generations, and they had a strong impact. That material still feels relevant—it continues to inspire my creativity.
However, I think something is lost when everything becomes too immediate. People tend to seek quick answers and constant updates. The internet is useful, but I still prefer real-world interaction—meeting people, riding together, building relationships. That physical dimension creates a deeper sense of connection.
Cordell Murray:
So, in a way, what inspires you most is direct experience—being present in the physical world.
Eric Zhang:
Exactly. Online resources are helpful, but participation is essential. You have to be there.
Cordell Murray:
What is the relationship between urban cycling and photography or video?
For example, for me, different disciplines carry distinct visual languages. Road cycling is associated with professional performance; BMX with competition and spectacle; skateboarding with cultural influence. Urban fixed gear cycling, however, exists outside those established frameworks.
There is no singular figure defining it, no widely recognized structure. Because of that, documentation becomes essential. Photography and video are how this culture is recorded, shared, and understood. Whether someone rides for work, for recreation, or for performance, documenting that experience gives it visibility and meaning.
How is it for you?
Eric Zhang:
For me, documenting through photography and video started as something informal—just capturing moments with friends. Over time, it became more intentional.
Technical quality has improved significantly—better cameras, better editing—and that has elevated how the culture is presented. Social media also allows immediate global visibility.
At the same time, style plays an important role. Fixed gear culture has such a distinct aesthetic, shaped by function but also by identity. Through documentation, that identity becomes visible. What I find most meaningful is the shared experience—connecting with people from different places who have the same passion. That exchange creates a strong sense of community.
Cordell Murray:
The Dosnoventa community was my first experience of fixed gear culture as a global network. Before that, I had only heard about events like Monster Track and messenger world championships without fully understanding them.
It was not until I traveled—bringing my bike to other countries—that I experienced it directly. The sense of openness and connection was immediate. People recognized that you were part of the same culture, regardless of origin. That realization—that this community exists worldwide—was significant for me.
How has your experience been with that global dimension?
Eric Zhang:
For me, Dosnoventa was the first time connecting with an international platform. Previously, my experience was local. When they reached out to me, I was surprised. I was not sure how to approach it at first, but once we met, the connection felt natural—like joining a family.
Despite differences in age and background, there is a strong sense of support and inclusion. It creates opportunities to grow and to collaborate across cultures.
Cordell Murray:
How did it feel to see yourself featured in a Dosnoventa film?
Eric Zhang:
It was a very meaningful experience. The process involved collaboration with filmmakers, photographers, and other riders, all contributing their expertise.
The final result reflects that collective effort—the visual quality, editing, and overall direction. It was also important that my friends could be part of it. Working at that level was new for me, and it set a different standard for what is possible.
Cordell Murray:
It is interesting how recognition works—being selected from many people creates a strong emotional response. At the same time, what makes these projects unique is that they are not purely commercial. The people involved are genuinely engaged—they participate because they believe in what they are doing. That authenticity is what defines the work.
Eric Zhang:
I agree. The experience is not only about visibility, but about connection. It creates access to a broader community while remaining grounded in shared passion.
Cordell Murray:
Finally, I want to acknowledge the importance of documenting and supporting these stories. Platforms that recognize and present this culture contribute to its development.
Eric Zhang:
Yes, and it is important to continue focusing on real skill, real experience, and genuine connection.
