I'm Kyle Garcia, an art director from Chicago, now based in Brooklyn. I build brand worlds. That means finding the visual language, tone, and point of view that make a brand feel like itself, then keeping it consistent everywhere it shows up. I'm a little obsessed with how things get made, and I'm usually within reach of a record crate or some half-fixed piece of vintage audio gear. For more than a decade I've worked where music, fashion, and culture run into each other, including as part of the Grammy-winning team behind Chance the Rapper's Coloring Book.

I then moved to New York to work at Sony Music's Payday and Ultra Records. I helped relaunch the storied Payday label with DJ Premier-led singlesand ran projects for global artists like MK, Dom Dolla, Austin Millz, and Smoko Ono. Then came Roc Nation, where I became the company's first-ever Multimedia Art Director. I built the department from nothing and grew the team from one person to six in a single year. I lead campaign and content rollouts for artists across the roster, including A$AP Rocky and Momo Boyd, with work spanning branding for Megan Thee Stallion's Chicas Divertidas, FIFA, Armand de Brignac, REVO, Puma, and Ray-Ban, the JAY-Z "30" rollout, and the last two Super Bowl Halftime Shows. I've directed music videos for J Balvin and Diljit Dosanjh, and led The Interns, Roc Nation's first original content.

My eye for fashion runs through it too. I art-directed World Cup campaigns for Classic Football Shirts, a brand built on vintage and archive pieces and the culture of collecting, and helped turn it into a month-long takeover of the Empire State Building. A lot happens off-screen as well, directing large-scale content and experiential activations at Art Basel, Winter Music Conference, and Lollapalooza. Ten years deep in New York's subcultures has given me a network that actually gets things made. For me, access is execution. The work even reaches into hospitality with OHBOY, the Brooklyn brand and restaurant I built from scratch. I handled the logo, the interior, the feel of the room, and the campaigns that pushed its first year past $2 million, earned global impressions, and landed it on The Drew Barrymore Show. It was never really just a restaurant. It was a spot people wanted to belong to.

Underneath all of it is a simple belief: what actually holds a project together is human connection. I make room for other people's creative voices, stay flexible, and keep the work honest, so what I make looks sharp and means something.