Andrew Myers, a Canadian living in New York, has an impressive resume at age 28: he’s shot ads for Saatchi & Saatchi, American Express, Airbnb, and other hip marketers, as well as editorial work for the New York Times Magazine, Time, GQ, and some magazine called “Fast Company.”
These credits go part of the way towards explaining his exacting, professional aesthetic, exemplified by photos which at first appear to be digital renderings.
In reality, these images are created through careful placement of objects and digital photo editing. “I suppose I’m not a true photographer in the sense that I don’t always wait for a moment. I don’t carry a camera around, or really even like cameras,” Myers says. “I don’t mind constructing things or moving them around. I consider myself a mix of photographer and ‘image-maker.'”
In his photos, many tiny pieces of fruit sit on white geometric shelves, and playing cards balance on a green background reminiscent of playing Windows 95 solitaire. These scenes have an uncanny perfection, but Myers plays with this digital aura. A photo of a beautiful landscape is covered in ants, announcing both its falsity and the impossibility of keeping the physical world at bay. Many of his works show the real-life background behind his scene at the edge of the frame. In others, a hand or shadow invades his highly designed 2-D seeming worlds, subtly reminding viewers that these are things that exist in real life.
But it’s hard to tell what’s “real” in Myers work, which confuses the border between digital and physical. “In some cases I’ve shot many things individually, but in others what you see was basically what was in camera,” he says. With these images, Myers is looking forwards and backwards simultaneously in an attempt to see our time from a different perspective.