Cut That Out
Cut That Out
Curated by Ryan Doyle and Mark Edwards, who work together under the name of DR.ME, Cut That Out focuses on the compositions of 50 leading designers and studios from 15 different countries for whom collage has been the key to creating vibrant, effective work. We caught up with half of the duo to find out more about this great new book…
FFF: Tell us a bit about yourselves for those who might know much about DR.ME (and what about that name?) – who you are, you experience, how you work, what you work on etc. ME: Just to clear something up (this came up last night in fact whilst giving a talk), DR.ME is pronounced Doctor Me. Not D R M E, not dreamy, Doctor Me. Also, when written down it is DR.ME not Dr Me, nor DR-ME, DR.ME pure and simple uppercase with a dot in the middle. Rant over. The reason we’re called DR.ME is a miss-ordered acronym of our initials: Ryan Doyle – DR and Mark Edwards – ME. Just to take you back to where it began we were actually paired together on the first day of studying Design & Art Direction at Manchester School of Art & Design.
After finishing our studies we decided go to New York for a few months to intern for Mike Perry in his studio in Crown Heights, this was a really great learning curve for us, Mike was everything you could want in a boss and taught us so much in such a short amount of time, we’ll always be indebted to the big guy! After that we returned to Manchester and opened our studio, since opening we’ve worked with clients including Red Bull Music Academy, Budweiser, Manchester International Festival, Young Turks, Tri Angle Records, Vevo, YoungArts Miami, painted murals on the French Riviera and exhibited in New York, London and Frankfurt. In the past year we’ve had a change of dynamic, Ryan met a girl (now his wife) in France and moved out there to be with her, 10 years ago this might have been harder but through using things like Skype, Slack and email it’s made it whole possible to run the studio together remotely without it affecting our dynamic.
FFF: You’re perhaps best known for your recent ‘365 days of collage’ initiative – was that conceived before the idea of the book? Or related in any way? ME: Yeah, 2 years ago my mum Jilly Edwards who is a tapestry weaving artist had a show as part of Collect at Saatchi Gallery, we did the brochure design and designed the layout of the show, when we went down to set up the exhibition we were staying in an Air BnB, this turned out to be owned by a collage artist called Paolo Giardi. Paolo’s work filled the apartment flood to ceiling and really made us think about the speed and immediacy of the medium. As we’d been talking about working on an ongoing project that would sharpen our skills in collage we decided to start 365 Days of Collage. After we’d been working on it for about 6 months and had had a good response to the project we started to think about what could happen at the end of the project, an exhibition sounded achievable but we wanted something with a bit more longevity.
We decided to approach Thames & Hudson about the possibility of them publishing the project as a book. Their response was pretty unforgettable “We only do Artist monographs for people who are dead or famous”, we were neither so we though that was it but they came back to us and asked whether we’d like to pitch an idea for a book on design. As we are designers who utilise collage within our practice and knew many others who fell into this category we thought that this would be an exciting starting point for a book.
FFF: What is it about collage that has you hooked? Do you consider yourselves designers, illustrators, makers, artists etc.? ME: I’d say we consider ourselves designers, we use collage to convey an idea. Whether this is a collaged pattern design for Vevo, an abstract collage for Cactus Digitale magazine editorial or a record sleeve for Evian Christ, the majority of the time it is a medium that we gravitate towards within our work as it creates such unexpected outcomes and pushes us to think in new and interesting ways.
FFF: The book features 50 of the best practitioners – how did you go about selecting them? any personal favourites? ME: I think we’ve both been keeping lists in our minds of our favourite practitioners since we both fell in love with design so about 75% of the book was already selected from the get go! The rest we discovered which was super exciting to come across somebodies work and realise that they would be a perfect fit for the book! Personal favourites is a tough one, that changes all of the time, Damien Tran, Steve Hockett, Aliyah Hussain, John Powell-Jones, Ellery James Roberts, Anna Beam, Nous Vous were great to have in as we have worked with them all previously and have longstanding friendships.
People like Stefan Sagmeister, Hort, Yokoland, Mike Perry, Mirko Borsche, Hvass&Hannibal, Neasden Control Centre and Mario Hugo have been studio heroes for a long time and Jesse Draxler, Lewis McLean, Louis Reith, Cameron Searcy and Matthew Craven were people that we only discovered further down the line but were really excited to get involved. So, yeah, it’s a bit of a book of personal favourites!
FFF: You recently spoke at NicerTuesdays – do you think there’s a bit of a misunderstanding or lack of appreciation around contemporary collage within the creative industries? Are you happy to be pigeon-holed as the ‘collage guys’? ME: I think it’s definitely getting more appreciation, there have been some excellent books come out about collage in the art world in the last 10 years. What I think is exciting now is that it’s starting to filter out of the art gallery and onto the street a lot more be this giant advertising hoardings on the street created by Mat Maitland for Kenzo, record covers for Tame Impala and Caribou by Leif Podhajsky and Matthew Cooper respectively in your local record shop, beer bottle labels we created the artwork for Cloudwater Brewing company adorning the fridges of your local bar or gig posters made by Braulio Amado or Ronny Hunger pasted up high and proud on a street corner. People can call us what they like, we’ll continue to try and make work that is bold and true whether that’s with collage or paint, type or video, vector or hand drawn.
FFF: Tell us a bit about the process of putting together a book! Was it fun? easy? arduous? as expected? do-able? plans for a volume two?!?! ME: It was a long process, there was a lot of chasing people for work, a lot of writing which is a new thing for us, but it was totally worth it in the end. Since we started the studio we’ve always wanted to make a book and it was a massive pleasure to do it with a publisher that we have so much respect for and who we own so many books by already! It was a great experience for sure, it gave us a lot more confidence in our own eye, if Thames & Hudson had had to guide us through it more then it could have been quite arduous but they were always really happy with what we were doing throughout so that was encouraging. I’d love to do a volume two, have already started collecting work on a pinterest board, there was a few people that we missed out of the last one as they had too much on to be involved at the time so would be great to go back to them, along with some of the people from this book who have continued to make amazing work that came out too late to feature and then there’s a number of new names that would be awesome to feature and speak to!