British photographer Garry Fabian Miller (born 1957) gained international acclaim in the 1970s for his photographs of sky, land and sea. Since the mid-1980s, he has exclusively made cameraless photographs, using the techniques of the earliest pioneers of photography to experiment with the nature and possibilities of light as medium and subject. He works in the darkroom, shining light through colored glass and liquid and over cut paper to create forms that record directly onto photographic paper. Fabian Miller often uses long exposure times—of up to 20 hours—to create his unique and luminous images.
Blaze presents recent work by Fabian Miller made during the period when the materials and chemistry that have sustained his practice for nearly 40 years have been disappearing. It includes 45 works made in the last four years, that represent what fellow artist Edmund de Waal identifies in his essay as an “endgame.”
Featured image is reproduced from 'Garry Fabian Miller: Blaze.'
PRAISE AND REVIEWS
Art Review
Louise Darblay
Another kind of illumination...
STATUS: Forthcoming | 1/21/2025
This title is not yet published in the U.S. To pre-order or receive notice when the book is available, please email orders @ artbook.com
Published by Art / Books. Text by Edmund de Waal. Poetry by Alice Oswald.
British photographer Garry Fabian Miller (born 1957) gained international acclaim in the 1970s for his photographs of sky, land and sea. Since the mid-1980s, he has exclusively made cameraless photographs, using the techniques of the earliest pioneers of photography to experiment with the nature and possibilities of light as medium and subject. He works in the darkroom, shining light through colored glass and liquid and over cut paper to create forms that record directly onto photographic paper. Fabian Miller often uses long exposure times—of up to 20 hours—to create his unique and luminous images.
Blaze presents recent work by Fabian Miller made during the period when the materials and chemistry that have sustained his practice for nearly 40 years have been disappearing. It includes 45 works made in the last four years, that represent what fellow artist Edmund de Waal identifies in his essay as an “endgame.”
