The Rise of a Photography Star: Tyler Mitchell's Journey from Skateboarding to Iconic Covers
From the streets of Atlanta to the cover of Vogue, photographer Tyler Mitchell's story is a captivating one. But how did a young skateboarder's passion for filming his friends evolve into a groundbreaking career that challenged societal norms and inspired a generation?
Clothilde Morette: You've had an incredible journey, Tyler. Growing up in Atlanta, skateboarding played a significant role in your life. What drew you to skateboarding, and how did it influence your artistic path?
Tyler Mitchell: Skateboarding was my gateway to a world of creativity. I learned the art of skateboarding from YouTube, and it introduced me to a subculture that felt like a secret society. It was through skateboarding that I discovered filmmakers like Spike Jonze and William Strobeck, who inspired me to explore filmmaking and art. Their unique approach to filming skateboarding with style opened my eyes to the possibility of becoming both a filmmaker and an artist.
CM: That's fascinating! And your journey took an interesting turn when you started thinking about photography. Can you tell us about your transition from skateboarding to photography?
TM: Absolutely! Around 2015, I began to seriously consider photography. Interestingly, my background in skateboarding culture became known, and it led to a connection with young boys in Lagos, Nigeria. They reached out, sharing their passion for photography and skateboarding in a city where it was illegal. I saw myself in them and was deeply moved. This connection inspired me to travel to Lagos and capture their world through my lens.
CM: Your time in Cuba during your studies must have been eye-opening. What drew you to this country, and how did it impact your artistic vision?
TM: Cuba was a place of vibrant energy and cultural richness. I was drawn to its people, many of whom shared my background, and the emerging skateboarding culture. It reminded me of my own journey as a young teenager. The colors, architecture, and the way light interacted with the environment sparked my creativity. What began as a school trip evolved into a personal project, leading to a self-published book. This marked the beginning of my recognition as a photographer.
CM: Your short film, 'This Is Real', holds a powerful message. Can you share the inspiration behind it and how it relates to your photography?
TM: The film was a response to the tragic shooting of Tamir Rice, a 12-year-old boy playing with a toy gun. It made me reflect on reality, fantasy, and the projection of danger onto young Black men. I wanted to create something playful and childlike while addressing the looming danger. The symbolism in the film captures this tension. It was an experiment in visual storytelling, and I never imagined it would become part of a museum exhibition.
CM: Your work often focuses on Black youth, aiming to portray joy and freedom. How do you approach this subject matter and the themes of togetherness and political imagination?
TM: I strive to capture a sense of community and the richness of Black life beyond struggle. I draw inspiration from books like Kevin Quashie's 'The Sovereignty of Quiet', which challenges assumptions about Black life. My portraits aim to merge visual style, fashion, and portraiture with political imagination, creating images that are both poetic and playful. It's about presenting a fresh perspective on Black youth while contributing to the canon of photography.
CM: And then came the iconic moment when you photographed Beyoncé for Vogue. How did this opportunity come about, and what impact did it have on your career?
TM: I had been working on editorial projects exploring masculinity, fashion, and political subjects. I had photographed Emma González, a survivor of the Parkland school shooting turned activist, for Teen Vogue. My work was gaining recognition for its unique blend of culture, politics, and style. I believe Beyoncé and Vogue saw this, and the opportunity arose. It was a defining moment that solidified my place in the industry.
CM: Returning to Atlanta after the pandemic, you embarked on a new project. How do you navigate the city's complex history and your personal connection to it?
TM: Atlanta holds a special place in my heart. I immersed myself in literature and films during the pandemic, which fueled my imagination. I began to see my childhood landscapes as mythical and dreamlike. I wanted to challenge stereotypes and engage with the pastoral, acknowledging the history of exclusion and the ongoing reclamation of the Southern landscape. My work there explores Black leisure and raises questions about the landscape's past, present, and future.
CM: Your recent exploration of printing on mirror and glass is intriguing. What inspired this unique approach?
TM: I wanted to experiment with the visual experience. The printing process I developed with my collaborator involves UV printing, where white areas remain ink-free. This technique allows certain parts of a photograph to become transparent, especially on glass. Glass has been integral to photography since its inception, and I wanted to play with reflection, water, transparency, and surface. It's a delicate process, adding depth to my exhibitions and inviting viewers to contemplate the act of looking, reflection, and history.
CM: Your artwork, 'Colonial Conversation,' on display at the MEP, is printed on fabric. Can photography help us confront and heal historical wounds?
TM: Absolutely. Photography can be a powerful tool for exploring history and memory. The fabric works I create carry the everyday history of the laundry line, a motif I'm drawn to. I'm fascinated by the idea that photographs, like fabric, are delicate and ephemeral. Photography culture often obsesses over permanence, but I find beauty in the transience of these moments. My work explores ephemerality, memory, and the labor of Black care and mutual support, inviting viewers to reflect on these layered histories.
CM: Tyler Mitchell's story is a testament to the power of passion and creativity. His journey from skateboarding to iconic covers challenges us to rethink societal norms and embrace the beauty of diverse perspectives. But here's where it gets controversial: How do you think his work has influenced the representation of Black youth in media? Share your thoughts below!
