A step outside the normal routine and a macro viewpoint affords us new conclusions. These photographs enable us to see that even under the guise of a typical day, we can find an appreciation of the vastness of our lives. Taking for granted what we are afforded day in and day out is replaced with the notion of how far we have come and how much there is left to do.
Our daily social journeys are built on instantaneous and fleeting views that are often not grounded in truth but are instead formed by our perceptions of the hundreds of situations we observe. The saying “perception is everything” is the reality of our daily social interactions. This work is about those perceptions we form countless times every day. Reaction to these images is as relevant to me as the actual subject matter portrayed. Within this perceived truth, what is most interesting is the control of the photographer versus the vulnerable portrayal of the subjects and their activities.
A series of posters that celebrate the wide diversity of personality types amongst gyro teams. Developed in Europe the SDI (Strength Deployment Inventory) is used by leading creative school, HyperIsland, to develop collaboration and conflict skills. The posters simply communicate the nature of each personality type: assertive (red), nurturing (blue) and analytical (green). These posters decorate a conference room titled RGB. For obvious reasons.
One of the most accessible feelings we hold is how we think of and relate to the place that we called or call “home.” Our earliest association of home can be formative, supercharging our life with positive energy, or it can be potentially destructive, forcing us to overcome and go beyond its limiting nature.
In the past decade, I have relocated my home several times, ending up in new and old places, including a yearlong stay with my parents and the further disorientation of traveling the world on behalf of my career. It was during this shifting of locations that I became keenly aware of how much need and emphasis we put on making every corner of our world home-like. We buy, rent and sell. We move and then stay. Life becomes a sequence of discovering new places, yet connecting new places with old references.
This work is about what really defines the intimacy of being home versus what is merely the façade and decoration of something that is supposed to be home, but never will be. Hotels, our current homes, homes for sale, the conference rooms of billion-dollar corporations and even car washes become one visual cliché of the motif of home. It explores our dependence on safety, comfort, décor and the difference between truthful and false displays of the places that we truly belong.
Created for a book project at gyro. The collages were simply a means to demonstrate how ordinary imagery and typography used in magazines that were at hand could be transformed into forms that implied new meaning.
This handheld creative workbook espouses the beliefs and creative philosophies I have come to practice through collaboration and mentorship from many wonderful people. The workbooks was an attempt to inspire and level set the gyro creative department and ground everyone in personal creative transformation goals to elevate individuals and the agency's work. Photography, collages and even the workbook itself were conceptual metaphors for transformation: a Moleskine turned into a workbook, magazine pages turned into collages and every day office artifacts turned into dramatic images.
These explorations used stencils commonly used to apply vinyl lettering to marine vehicles.
Making these “overly familiar” photographs creates a consistency of place across varied global environments. I try to render disparate scenes from all over the world in a consistent and relatable way. I’m most interested in how sameness and normalcy can create a stage for opportunity. These singular views are waiting to be activated by human presence. As we await the actors and their actions, these spaces of emptiness and monotony create the anticipation of a forthcoming moment, where anything might happen but has yet to be revealed. They are universally about where you are and not knowing what is next.
The formal attention shown toward machines and objects no longer in use is a way to celebrate the human ingenuity and passion that created and once used these artifacts. There is no era portrayed in these images. Function and original meaning are gone, with their literal meaning replaced by implied integrity, abstracted form and adoration of textures. The lack of a dominant subject, confusion between foreground and background, and the soft nature of the light establish an interwoven union between nature and man as they devolve into each other. But what is most interesting to me about this decay isn’t the process of death. It is how the medium’s ability to render beauty becomes a perfect tribute to what we have done collectively to make this world our own.
As a musician in the Roger Klug Power Trio, I am most often the art director tasked to create some kind of advertisements for our shows. This activity is usually too late in the pre-awareness marketing phase of the gig to be of much effect. However, better late than ever is what I say. To meet this demand I have developed a quick and rapid design methodology known as the "five minute flyer process". It starts with a simple ignition point or theme, moves into rapid ideation and creation or procurement of visual interests. It always results in a met deadline. It is proof that it is never too late to bring a design smile to your face.
More about Roger Klug can be found at his Web site www.rogerklug.com
I had the good fortune of collaborating on the sequencing and writing the forward for Markus Lehr's wonderful photobook "Fairytales and Nightingales". Here is an excerpt:
“Welcome to a place where there is no night and no day. Where there is no rendering of era or time. Here is the accrual of generations in one view, the past, present and future. These are photographs about all of us without showing any of us. They are disorienting in their strange familiarity, but elusive in their description of place. They are about the ambiguity and uncertainty of life, shown in a way that is subtle, elegant and dream-like.Through this work we can realize the transformative energy of place, time and the beauty of unrecognizable light.”
Mike Tittel, Summer 2013, Cincinnati, Ohio
More information on this work can be found here: www.markuslehr.com