Born in London in 1964, Miles Aldridge has published his photographs in such influential magazines as Vogue Italia, American Vogue, Numéro, The New York Times, The New Yorker, and Paradis. His work has been exhibited in numerous group shows, like at Miami Beach Art Photo Expo as a part of Art Basel Miami Beach in 2007. His solo shows “The Cabinet” (2006) and “Acid Candy” (2008) has been presented by Galerie Alex Daniels – Reflex Amsterdam. Miles Aldridge’s upcoming solo shows in 2009 will be presented in May in New York at Steven Kasher Gallery, as well as in fall/winter at Galerie Alex Daniels – Reflex Amsterdam.
“If the world were pretty enough, I’d shoot on location all the time,” confides the photographer, who, until very recently, worked almost exclusively on elaborately constructed, meticulously lit studio sets in Europe, New York and L.A. “But the world is just not being designed with aesthetics as a priority. So I prefer to rebuild the world instead of photographing the real one. What I’m trying to do is take something from real life and reconstruct it in a cinematic way.”
Steidl 7L: Miles Aldridge is famous for his decadent colour-saturated fashion photography in magazines such “Pictures for Photographs” as Vogue and Numéro, but the sensual sketches that inform his photographic work are scarcely known. Pictures for Photographs addresses thisdescrepancy by exploring the delectable relationship between the sketches and photographs. The book opens with the manic drawings with which Aldridge fills sketchbooks in preparation for fashion shoots. Scrawled in pen or pencil, these black- and-white sketches generate ideas for potential photographs and map out series of pictures like a film storyboard. Sometimes dotted with raunchy hand-written notes such as “green/yellow bra” or “painting nipples with lipstick”, Miles Aldridge’s sketches are cruciato his photographs. The second half of the book presents hisphotographs, which are often as much about sex as they are about fashion. Here we experience the opulent onslaught for which Aldridge is known: a blonde woman eating lobster and caviar with an exposedbreast, an erotic couple in a darkened limousine, a school girl surrounded by her teddy beaars, and even crying Madonnas. By setting Aldridge’s monotone drawings and the amplified, Pop-inspired colour of the photographs against each other, Aldridge’s Pictures for Photographs offers an as yet unseen insight into imagination and working processes.
David Lynch: Miles sees a color coordinated, graphically pure, hard-edged reality.
Glen O’Brien: Aldridge’s feverish madonna icon is both saint and sinner, her ecstasy is both religious and sexual, and how far is that from the source of myth itself, from the “reality” of St. Theresa?
Marilyn Manson: There are only names like Man Ray or Breton that can serve as any measure for me to place Miles Aldridge on any artistic barometer.