Christie's: How do you come up with the surreal settings in your photos?
Miles Aldridge: I'm not looking for surreal images, but rather images that bring concentrated attention to the banal in real life: bathrooms, kitchens supermarkets, etc.
Christie's: How do you use saturated colors to evoke a feeling or mode of being?
Miles Aldridge: Colour is an abstract language that works on a subliminal level. I like to play with happy colours to express darker thoughts.
Christie's: Your images are often erotically charged and staged. How do you get the model in the right state, and when do you know the shot is "ready"?
Miles Aldridge: I create a partial narrative often drawn from life, and like a film director, give the model her motivation. When photographing the model I shout out thoughts as they occur to me and watch her expression change to what I want as my words become her thoughts.
Christie's: Are your favorite photographs of a certain type or theme, or is there an undercurrent that runs through them?
Miles Aldridge: The experience of modern life.
Christie's: What are your "dos" and "don'ts" in photography?
Miles Aldridge: Do think before you shoot, Don't not think before you shoot.
Christie's: What makes a photo last?
Miles Aldridge: The same as a great painting: mystery and eternity.
Interview with Miles Aldridge conducted courtesy of Alex Daniels / Reflex Amsterdam.
Miles Aldridge was born in London in 1964, where he continues to live and work today. He studied at Central St. Martin's and after graduating worked briefly as an illustrator before finding his way to photography in 1993. He is best known for his unsettling images of glamorous but disconcerted women that combine vibrant colour, cinematic narrative, and meticulous attention to detail.
His photographs have appeared regularly in international publications such as American Vogue, The New Yorker, The New York Times, and most notably Vogue Italia, who he has worked closely with throughout his career. There are several books devoted to his work, including Pictures for Photographs (2009); Other Pictures (2012); and I Only Want You to Love Me (2013) ? an extensive monograph of his photographs and drawings that accompanied a major retrospective of his work at Somerset House by the same title. In April 2014, he was invited by Tate Britain to create a temporary installation entitled Carousel II, as a response to Mark Gertler's 1916 painting, Merry-go- Round.