We live in a state of rituals, shared and personal expectations and personal beliefs. They are burdens and they are hopes we place upon ourselves. We can’t walk in each other’s shoes but we all share happiness, pain and humility.
These images deal with those internal dialogues. Seen consistently across the facade of a church, narratives unfold across the varied postures and expressions of these Cuban people. Like a play, like a stage and like life, the images remind us that we maybe lonely, content, in love, lost or found, saved or spent but in all of that we are connected.
Cuba is vibrant, warm and rich beyond all preconceptions. The extremes unfold before us looking at once like welcoming smiles and decaying infrastructure. With pesos in my pocket and the blessings of many I put myself into the rich world that lies only ninety miles from the coast of Florida. I was rewarded in the vulnerability, trust and love of the human spirit that surrounded me. I will never forget how it felt to connect and integrate into a culture that was so foreign to me.
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.
Life often turns out differently than you thought it would. You aren’t where you thought you would be, doing what you thought you would do, with the people you thought you would be with. Some days you realize you are outside, surrounded by people, and you are the odd one out. These images highlight and normalize a universal feeling of displacement. Sometimes we just are. And that’s ok.
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.
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.
In the spring of 2014 I wrote a bunch of new songs. They were all related in theme and sound. I invited a few amazing musicians to contribute their talents, once I had recorded all of the basic tracks. I enjoyed the process so much that I then put a band together to play the songs.
I had many contributors to both the record, the design and the creation of all aspects of this work. Bradley Skaught, Bob Nyswonger, Roger Klug, Sally and Pat O'Callaghan, Mike Michel and Mike Landis all helped with the music. The wonderful cover photograph of the two girls in San Francisco was done by Jack Simon. Jonah Otchy did the color band photography using vintage cameras and Kodak film. Michael Holder did the wonderful documentary "Nowhere Ohio" which can be seen on the band web site. Erin Pinkley did the design of the album and helped art direct the web site all under the theme of austere simplicity and boldness.
Making music has changed so much since I owned my recording studio. I takeaway a renewed love for creating music and the declarative stance that accessibility to putting out music is reason enough to do it.
The band has been playing live in Ohio and by all accounts is pretty good. I know we are having a lot of fun doing it. Tom White, Mike Landis, Greg Tudor, Bob Nyswonger and Roger Klug have all been a part of it.
For more information and music go to: www.newsincerityworks.com
or Facebook: www.facebook.com/newsincerityworks
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.
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.
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
Created as a direct need to ignite gyro office space with an organic, warm and functional seating solution. The project took on a new dimension as the wood was procured from felled Ash trees that had been blighted with the Ash Borer insect. These rough cut, hand filed and varnished logs serve as stools and storage/display devices throughout the gyro office.