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A Touch of Absurdity | Interview with Andrew B. My...

A Touch of Absurdity | Interview with Andrew B. Myers by Mert Gafuroglu

andrew b myers

Canadian photographer Andrew B. Myers is based in New York City. He has collaborated with many brands and publications such as American Express, Airbnb, Apple, Vogue, Google, Time magazine, GQ and The New Yorker.

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Let’s jump straight into the conversation; what are you focused on nowadays?
Right now I’m focused on settling into New York life and trying to figure out what I want to do next. I’ve been working on more detailed imagery, featuring complicated arrangements. I want to push this further, start involving people, and maybe even animate. For whatever reason, creating this kind of imagery makes me really happy, and brings out a kind of child-like state. The process is very fun. I like to do everything by myself.

When was the last time you were surprised or impressed by a work of art?
Seeing an exhibition of Raqib Shaw’s work when I moved to the city blew me away. I’ve never seen such an obsessive attention to detail before. His work is magical and an entirely different experience in person. Here and there I will come across an artist whose work immediately makes me smile, an instinctive reaction to the mind and talent behind the work.

Has art become more original-driven or more copy-driven in this period of  time? Why?
I couldn’t say for sure. The vast outreach of the internet is an important variable here. The ways an artist can draw influence are very different than they once were. I’m not entirely sure what you mean by ‘original-driven’. Perhaps the DESIRE to create something entirely unique? I feel like any creative has that intention, but most can also recognize how our creative choices are inevitably shaped and influenced by what we’ve seen and experienced already.

Some of your work contains Pop-Art references, how important to you is it that the audience recognizes these references? 
I wouldn’t say it’s important that the audience understands anything about what my work is drawing from, but I like it when people come to different conclusions. I try to remain coy about how I make a lot of my work simply because I want people to guess. It’s interesting that you say there are pop-art references. I’ve heard this many times and I wouldn’t say it’s my first intent, but I like that you see it that way.

I see you’ve done a lot of Commercial work such as Google, Airbnb, Universal Music and so on… What you feel about your creative approach that changed when you work with companies?
My creative approach changed entirely. Working with others is very different than working alone, and I don’t like either more, but I’m more comfortable working very slowly and without being observed, which is a luxury not afforded in the commercial realm. With companies, there is a vision that they have that they kind of want you to be a vehicle to. Total creative control seems rare, so it’s an exercise in collaboration.

How does NYC’s life affect to your life and the places where you go usually?
NYC has begun to change me a little bit. I’d say more direct now. Canadians are very passive and polite people, but this environment is different. It’s a wonderfully stressed out place. Everyone is furiously pursuing their goal, and there’s a high concentration of real talent, which is beautiful and very motivating. Growing up in a rural area gives me cravings to get out every so often though. I need to see that an empty field exists somewhere.


SEVENTYFOUR is a digital arts & culture platform that celebrates artistic creation in all its dimensions: art, fashion, design, architecture, film, music, food culture, and beyond.

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