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Featured Artist Interview - Brian McCarty
BY
Cheryl Chan
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He wants to be a lighthouse keeper, a far cry from what he does. But his job is probably every little boy’s dream. He is most tolerant of the quality a kid is most guilty of: ignorance, but here it is the simple, innocent kind that unfortunately disappears with growing up.
In Brian Brian McCarty’s world, growing up doesn't involve growing obsolete from the things of childhood. In his world, growing up means getting more in touch with the things that mattered when he was a boy. The things that the world grows out of because that means growing up. The things that you stop associating yourself with after the age of 10. Toys.
This is what he thinks about dealing with toys everyday. “Imagine how the 8 year old version of yourself would have reacted to seeing a toy or set come to life, and you’ll know how I feel.”
TAXI >> Welcome, Brian. How has the first half of 2006 been for you?
Brian McCarty >> It has been amazing and chaotic all at the same time. I’m just entering into the fourth year of the studio, and it’s a time of growth and big, exciting changes.
TAXI >> You founded McCarty Photoworks to provide a professional service of photography combined with commerce for your clients. How did this whole idea of merging photography with commerce originate?
Brian McCarty >> The idea really took hold during the time at the United Colors of Benetton’s creative research center Fabrica. I was invited to attend right out of school in 1996. While there I saw how advertising could be viewed as a canvas and medium for mass communication beyond simple product marketing. It was artistic vision and meaning that gave the ad relevance and depth.
TAXI >> “With the studio’s unique vision and approach, McCarty PhotoWorks proves daily that photographs can be successful, both in artistic and commercial terms.” What is the vision of McCarty PhotoWorks?
Brian McCarty >> At the heart is seeing the world from the perspective of toys, but more than that it is immersion into a world of strong characters and stories driven by context.
TAXI >> Some people consider photography a form of art that, once commercialized, loses all its originality and meaning. How far do you agree with this opinion?
Brian McCarty >> I believe it depends on the level of commercialization. So long as a photographer is shooting from his or her unique perspective and staying true to a vision, the work retains its artistic relevance.
TAXI >> Your studio produces images that “blur the lines between art and commerce”. What kind of lines exists between art and commerce and how have you made them merge to appear in a less distinct way?
Brian McCarty >>The lines that exist are purely conceptual, but it’s a concept that many seem to obsess on. The bottom line to me is intent as perceived through the work and relevance. If a piece stands on its own and communicates an artist’s vision and a message of cultural relevance, it shouldn’t matter if it’s in a museum or on a billboard. I suppose that I blur the line by simply ignoring it and doing what feels right to me.
TAXI >> You collaborate with award-winning toy designers, set builders and toy stylists. Why the interest in toys in the first place? Does it have anything to do with an interest nurtured from your youth?
Brian McCarty >> It’s a very simple answer, but it is the truth. I never lost interest in toys, not ever. When the rest of my peers were moving on to other things, many times because of social pressures around what it means to “grow up,” I was still going to toy stores and finding inspiration and connection to something planted deep in my childhood. So working with toy designers and set builders is a huge treat. Imagine how the 8 year old version of yourself would have reacted to seeing a toy or set come to life, and you’ll know how I feel.
TAXI >> You are very well-known in the industry as a result of your collaborations with “Rockstar Games” and Cartoon Network’s “Adult Swim’. How did your collaboration with them further your company’s standing in the industry?
Brian McCarty >> It’s hard to say. Everything is so symbiotic. It took achieving a certain standing long before these projects to make them available to the studio. Having that work in my portfolio and those collaborations under my belt is certainly a great honor, and I believe they have helped springboard the studio to larger and larger clients. However, I’ll always keep one eye towards my art-toy roots.
TAXI >> Will you consider engaging in other forms of design besides toys? Are you looking to expand your studio in a different direction?
Brian McCarty >> Toys will always be at the heart of the studio, but I am expanding the scope of my work. I am now represented by Los Angeles based Quattro Media for film, video, and animation. It’s been extremely exciting to expand beyond still photography into cinematography, directing, and producing. There are some very fun projects coming soon.
TAXI >> Your clients range from the industry of gaming to cartoons. Is it difficult to meet clients’ demands on the type of photography they require?
Brian McCarty >> After fifteen years of working as a professional photographer, I feel very confident about meeting the demands of any client.
TAXI >> Your work must stem forth from a certain line of inspiration. Is it a killer to meet the expectations you have of yourself, especially in the form of photographing toys?
Brian McCarty >> I am extremely hard on myself at times, much more so than any client could ever be. Inspiration can be a tricky beast. Over the years I’ve gotten better at relaxing and listening to my inner voice, but I still challenge it to grow and push beyond comfort levels to find new ways of seeing.
TAXI >> It has been my greatest pleasure having Brian Mccarty on our Front Seat this week. Before we end, tell us a place where you want a taxi to bring you to right now.
Brian McCarty >> Well, I’m heading on the road in two days for Miami and a big shoot I’ve spent the last month preparing for, so I’d settle for a quiet, neon trimmed motel in the middle of nowhere with a cheesy vibrating bed.
© 2006 by TAXI Design Network. All rights reserved.
In Brian Brian McCarty’s world, growing up doesn't involve growing obsolete from the things of childhood. In his world, growing up means getting more in touch with the things that mattered when he was a boy. The things that the world grows out of because that means growing up. The things that you stop associating yourself with after the age of 10. Toys.
This is what he thinks about dealing with toys everyday. “Imagine how the 8 year old version of yourself would have reacted to seeing a toy or set come to life, and you’ll know how I feel.”
TAXI >> Welcome, Brian. How has the first half of 2006 been for you?
Brian McCarty >> It has been amazing and chaotic all at the same time. I’m just entering into the fourth year of the studio, and it’s a time of growth and big, exciting changes.
TAXI >> You founded McCarty Photoworks to provide a professional service of photography combined with commerce for your clients. How did this whole idea of merging photography with commerce originate?
Brian McCarty >> The idea really took hold during the time at the United Colors of Benetton’s creative research center Fabrica. I was invited to attend right out of school in 1996. While there I saw how advertising could be viewed as a canvas and medium for mass communication beyond simple product marketing. It was artistic vision and meaning that gave the ad relevance and depth.
TAXI >> “With the studio’s unique vision and approach, McCarty PhotoWorks proves daily that photographs can be successful, both in artistic and commercial terms.” What is the vision of McCarty PhotoWorks?
Brian McCarty >> At the heart is seeing the world from the perspective of toys, but more than that it is immersion into a world of strong characters and stories driven by context.
TAXI >> Some people consider photography a form of art that, once commercialized, loses all its originality and meaning. How far do you agree with this opinion?
Brian McCarty >> I believe it depends on the level of commercialization. So long as a photographer is shooting from his or her unique perspective and staying true to a vision, the work retains its artistic relevance.
TAXI >> Your studio produces images that “blur the lines between art and commerce”. What kind of lines exists between art and commerce and how have you made them merge to appear in a less distinct way?
Brian McCarty >>The lines that exist are purely conceptual, but it’s a concept that many seem to obsess on. The bottom line to me is intent as perceived through the work and relevance. If a piece stands on its own and communicates an artist’s vision and a message of cultural relevance, it shouldn’t matter if it’s in a museum or on a billboard. I suppose that I blur the line by simply ignoring it and doing what feels right to me.
TAXI >> You collaborate with award-winning toy designers, set builders and toy stylists. Why the interest in toys in the first place? Does it have anything to do with an interest nurtured from your youth?
Brian McCarty >> It’s a very simple answer, but it is the truth. I never lost interest in toys, not ever. When the rest of my peers were moving on to other things, many times because of social pressures around what it means to “grow up,” I was still going to toy stores and finding inspiration and connection to something planted deep in my childhood. So working with toy designers and set builders is a huge treat. Imagine how the 8 year old version of yourself would have reacted to seeing a toy or set come to life, and you’ll know how I feel.
TAXI >> You are very well-known in the industry as a result of your collaborations with “Rockstar Games” and Cartoon Network’s “Adult Swim’. How did your collaboration with them further your company’s standing in the industry?
Brian McCarty >> It’s hard to say. Everything is so symbiotic. It took achieving a certain standing long before these projects to make them available to the studio. Having that work in my portfolio and those collaborations under my belt is certainly a great honor, and I believe they have helped springboard the studio to larger and larger clients. However, I’ll always keep one eye towards my art-toy roots.
TAXI >> Will you consider engaging in other forms of design besides toys? Are you looking to expand your studio in a different direction?
Brian McCarty >> Toys will always be at the heart of the studio, but I am expanding the scope of my work. I am now represented by Los Angeles based Quattro Media for film, video, and animation. It’s been extremely exciting to expand beyond still photography into cinematography, directing, and producing. There are some very fun projects coming soon.
TAXI >> Your clients range from the industry of gaming to cartoons. Is it difficult to meet clients’ demands on the type of photography they require?
Brian McCarty >> After fifteen years of working as a professional photographer, I feel very confident about meeting the demands of any client.
TAXI >> Your work must stem forth from a certain line of inspiration. Is it a killer to meet the expectations you have of yourself, especially in the form of photographing toys?
Brian McCarty >> I am extremely hard on myself at times, much more so than any client could ever be. Inspiration can be a tricky beast. Over the years I’ve gotten better at relaxing and listening to my inner voice, but I still challenge it to grow and push beyond comfort levels to find new ways of seeing.
TAXI >> It has been my greatest pleasure having Brian Mccarty on our Front Seat this week. Before we end, tell us a place where you want a taxi to bring you to right now.
Brian McCarty >> Well, I’m heading on the road in two days for Miami and a big shoot I’ve spent the last month preparing for, so I’d settle for a quiet, neon trimmed motel in the middle of nowhere with a cheesy vibrating bed.
© 2006 by TAXI Design Network. All rights reserved.