Material: Archival pigment print on Canson® Infinity Rag Photographique mounted to Dibond®, Bespoke black aluminium frame with 3 mm Tru Vue Optium Museum Acrylic® (99% UV filtering & low glare), Mounts to hang in any orientation
Artwork:
Untitled, 2021
Identity: 211215-5502
From the series ‘Time Lines’
Archival pigment print on Canson® Infinity Rag Photographique
Dibond® mounted with bespoke black aluminium frame
3 mm Tru Vue Optium Museum Acrylic® (99% UV filtering, low glare)
Edition size of 1 (+ 1 AP)
Artwork displayed is the Original Exposure
Also available in diptych with 1/1 Mirrored Reflection (+ 1 AP)
Exposed on: Full frame digital SLR
Time exposed: 0.3 Seconds
Exposure adjusted by +1.5
Capture location: Playa Hermosa, Costa Rica
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From the Series… ‘Time Lines’:
In his second, ongoing body of abstract work, titled ‘Time Lines’ (2021-present), Miles has taken the photographic practice of ‘light painting’ and turned it on its head. Rather than relying on the motion of a moving object or light source to ‘paint’ light into a work, he relies on his own unconventional motion to transform otherwise static lights into ‘Time Lines.’
Whether it be a sleepy streetlight, the moon, or a colourful pulsating LED, Miles’ momentum transforms otherwise ordinary light sources. At times revealing some of the hidden complexities of light that we are unable to naturally perceive. Like the ‘flickering’ properties of LED lights, flashing on and off at hundreds or even thousands of times per second, creating an intricate array of dots and dashes. A process that occurs as individual packets of photons are stretched over time across his sensor or film stock. While other, constantly flowing light sources carve out their own meandering strokes. Each exposing a new visual representation of the passage of light through time.
Since Miles began experimenting with ‘Time Lines,’ he no longer looks at the world in the same way. He sees lights as spray cans, spraying light in all directions. Looking at the world around him he often ponders what the Time Lines of a particular light source might reveal when stretched by his camera.
Similar to his first series of abstract works, ‘Transforming Space Time,’ his ‘Time Lines,’ are all original photographs captured naturally in-camera. Always un-cropped, un-manipulated and left as initially exposed in camera.
As with his previous series, Miles wants to avoid constricting the visual experience to a single orientation. He encourages (whenever possible) viewers to rotate the artworks, experiencing them in all four orientations. He’s also created a mirrored companion artwork for each ‘Time Lines’, allowing the artworks to be experienced either on their own, or symmetrically, in diptych. He continues to encourage viewers to rotate the works and swap their positions. A subtle reminder about how easily our perceptions can change, with a simple shift in perspective.
Whether displayed on their own, or together as a pair, Miles feels that the two physical artworks are like a pair of quantumly entangled particles. No matter how far apart they are physically separated from one another, they will always be inherently connected.
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Size, availability & current location of the artwork 211215-5502, as of Nov. 22, 2022:
Original Exposure: 30 x 45 inches (76.2 x 114.3 cm). Available & not yet printed.
