Alison McCreery recently lassoed Craig Cutler for an in-depth Q&A on his project CC52, for which he produced personal work every week for a year. She asked him about everything from the challenges of the project to why he chose to shoot nude mascots. Below is Alison’s introduction to the Q&A. Read the rest here.
And don’t forget: “CC52: The Exhibition” is coming up May 10 at Industrial Color. RSVP at firstname.lastname@example.org.
Hired for his highly technical, masterful conceptual work, Cutler’s advertising and editorial client list includes IBM, HP, Chase, Exxon, Martha Stewart, Citigroup, Starbucks and eBay. This interview focuses on CC52, but please check out recent commercial projects and the CC52 projects we did not have room to feature on his newly launched website.
I’ve been watching the unfolding of CC52 and planning the interview with Craig for months. I often go into the interviews with an assumption and tailor a few questions around revealing this. What I’ve learned is that this approach can go one way or the other and it is most interesting when I am surprised by what I learn rather than what I think I know, which was the case with CC52.
Rather than a presumed evolution of concept or an inner exploration, CC52 is an elegant record of a master and his craft, the creative process distilled. And just beneath an interview that moves along quickly is a sub-text, a reflection of the process at hand with CC52. Tightly edited and short on labrynth deliberations on lessons learned, we are witness to a key talent and skill of the most successful artists, the ability to concept, evaluate and execute on schedule and on budget, leave ideas that won’t work on the cutting-room floor, and deliver a unique creative solution that takes the ‘brief’ to the next level.
The other story is about collaboration. More on this in the interview. But in my conversations with Craig, the conversation came time and again to the team effort that this project required and his appreciation for the contributions of his collaborators including his long-time assistant, stylists, sound and video editors and his creative director. I got the sense that he felt the projects relied as much because on their contributions as they did his ideas and direction.