MILES ALDRIDGE | Masters
Represented by [2b MANAGEMENT]
MILES ALDRIDGE by Peter Lindbergh
Miles Aldridge rose to prominence in the mid-nineties with his arresting, highly stylised photographs with references to film noir, art history and pop culture.
An acclaimed colourist, he renders elaborate mise-en-scènes in a palette of vibrant acidic hues. These glamorous, frequently eroticised images probe society’s idealised notions of domestic bliss where sinister undercurrents swirl beneath a flawless surface.
THE PROMISE, VOGUE ITALIA BEAUTY, COVER, July 19
BOLD GOLD #2
IMMACULEE #2
MAISIE WILLIAMS for TIME, July 17
Born in London in 1964, the son of famed art director and illustrator Alan Aldridge, his interest in photography began at an early age when he was given a Nikon F camera by his father.
After studying graphic design at the Central Saint Martin’s College of Art and Design, Miles worked as an illustrator and music video director before turning his attention to photography.
EMILIA CLARKE for TIME, July 17
RITA ORA for ELLE USA, Feb. 19
VIOLA DAVIS for TIME
EXTASE, NUMERO
MAC Cosmetics
In 1996 he began working with Franca Sozzani, the legendary editor-in-chief of Vogue Italia, and their boundary-pushing collaboration would continue for twenty years. In addition to the many international editions of Vogue, Aldridge’s images have featured regularly in prestigious titles including Harper’s Bazaar, Numéro, W, The New York Times Magazine and The New Yorker.
NEW UTOPIAS #2
NEW UTOPIAS #1
I ONLY WANT YOU TO LOVE ME #1
SHORT BREATHS #5
Miles has worked prolifically for more than twenty-five years, and today he remains one of the few photographers still shooting predominately on film. His creative output encompasses large-scale c-type prints, Polaroids, screenprints, photogravures and drawings.
ELLE BEAUTY USA, Apr. 19
IN SHADOWS I BOOGIE (AFTER MILLER)
MAC Cosmetics
A DROP OF RED #2
HARPER'S BAZAAR BEAUTY
Miles develops each new photographic narrative by rendering his initial thoughts in ink or pencil sketches with washes of watercolour and pastel. He believes that ‘fiction and theatricality can be more truthful than documenting reality’ and translates his sketches into meticulously arranged compositions to create images reminiscent of film stills: frames snatched from a broader story.
LEWIS HAMILTON for GQ
MDMA, WSJ
BANG! BANG! #1, NUMERO
DAVID LYNCH for L'UOMO VOGUE
A recurring theme throughout his oeuvre is the false promise of luxury. Psychedelic interiors are furnished with the trappings of mid-century suburban comfort: gleaming kitchen appliances, candy-coloured telephones and well-groomed pets denote success.
LUCRETIA
MADEME REVE, NUMERO, Jan. 20
VOGUE ITALIA, Mar. 19
UNTITLED (AFTER CATTELAN), NUMERO
Miles notes that many of his favourite moments in cinema are, as he describes, ‘closeups of a woman’s face thinking’, and he shares Hitchcock’s ability to create powerful moments of suspense, turning viewers into voyeurs.
A FAMILY POTRAIT, VOGUE ITALIA
ELLE USA, Feb. 20
A PERFECT MUM
CIRCLING THE SMALL ADS (AFTER MILLER)
ACTRESS #6
THE END #3
Miles Aldridge's work has been exhibited worldwide and is held in the collections of the National Portrait Gallery, London; the Victoria and Albert Museum, London and the International Center of Photography, New York.
He has published numerous monographs and his latest project "PLEASE PLEASE RETURN POLAROID" (Steidl) will be published by STEIDL in the fall of 2020.
I ONLY WANT YOU TO LOVE ME, Rizzoli, 2013
ACID CANDY, Torch Gallery, 2008
PLEASE RETURN POLAROID, Steidl, 2016
PLEASE PLEASE RETURN POLAROID, to be published by Steidl in the fall of 2020
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