GALERIE ALEX DANIËLS – REFLEX AMSTERDAM NEW WORKS BY MILES ALDRIDGE

Thought After Filthy Thought (after Miller), 2017, screenprint in colours, 75 x 150 cm, edition of 15 + 3 APs.
Thought After Filthy Thought (after Miller), 2017, screenprint in colours, 75 x 150 cm, edition of 15 + 3 APs.

Discover the latest series of screenprints by the acclaimed British photographer Miles Aldridge. The series of five images, each in a limited edition of 15, were made in collaboration with the highly acclaimed painter Harland Miller. Please contact the gallery for orders and more information at: info@reflexamsterdam.com

Thought After Filthy Thought (after Miller), 2017, screenprint in colours, 75 x 150 cm, edition of 15 + 3 APs.
Thought After Filthy Thought (after Miller), 2017, screenprint in colours, 75 x 150 cm, edition of 15 + 3 APs.
Miles Aldridge on (after Miller) in an interview with AnOther Magazine:

“I’ve known Harland most of my adult life. When I first met him he was trying to be a writer and I was trying to be a filmmaker – we were both sort of aiming at different things, and there’s that lovely quote from Flaubert that comes to mind, about all of us ending up doing the things in life we’re second best at. This summer, I was at his show at White Cube where he was presenting his second album, if you like – he had rid himself of the Penguin motif and was presenting a series of 60s psychology paperbacks in the spirit of RD Laing, full of these weird geometric shapes. I immediately thought: ‘How can I do something? How can I respond?’ The idea came to me to return the books to being books and create a handful of images of a woman reading them in various cinematic scenarios.

Harland and I have lots of shared cultural references from growing up in the 70s, so that was the universe I felt I could create – I thought a lot about Morrissey and the aesthetic of the kitchen sink drama. I had the Sunday supplement printing technique in mind. I felt the dot being screen-printed would give it kind of an art twist. We did an insane amount of testing until we got to a point where I was happy with the quality that I was getting from the screen-print. I wanted them to have a feeling of the CMYK dot being really coarse, but in order to really explain that I felt I needed to have areas that were flatly printed too. Each of them has, for example, an area printed in a dead flat ink, so you’ve got this contrast. Because of the variances in the screen-printing, they’re all unique. One of the reasons I’ve done what I’ve done with this body of work is a reaction. It’s about how I feel as a photographer working in this world of mass consumption.”

Better Than Life (after Miller), 2017, screenprint in colours, 75 x 103 cm, edition of 15 + 2 APs.
Better Than Life (after Miller), 2017, screenprint in colours, 75 x 103 cm, edition of 15 + 2 APs.
In Shadows I Boogie (after Miller), 2017, screenprint in colours, 103 x 75 cm, edition of 15 + 3 APs.
In Shadows I Boogie (after Miller), 2017, screenprint in colours, 103 x 75 cm, edition of 15 + 3 APs.

 

Hell…It’s Only Forever (after Miller), 2017, screenprint in colours, 134 x 75 cm, edition of 15 + 2 APs.
Hell…It’s Only Forever (after Miller), 2017, screenprint in colours, 134 x 75 cm, edition of 15 + 2 APs.

 

Circling The Small Ads (after Miller), 2017, screenprint in colours, 75 x 103 cm, edition 15 + 3APs.
Circling The Small Ads (after Miller), 2017, screenprint in colours, 75 x 103 cm, edition 15 + 3APs.

 

Note for press and collectors: for more information or to schedule an interview with the artist please contact: info@reflexamsterdam.comtel. +31 20 6272832, mob. +31 (0) 629 568989 

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