Editions

  • Colour Pictures (Luxury Edition)
  • Colour Pictures (Luxury Edition)
  • Colour Pictures (Luxury Edition)
  • Colour Pictures (Luxury Edition)
  • Colour Pictures (Luxury Edition)
  • Colour Pictures (Luxury Edition)
  • Colour Pictures (Luxury Edition)
  • Colour Pictures (Luxury Edition)
  • Colour Pictures (Luxury Edition)
  • Colour Pictures (Luxury Edition)
  • Colour Pictures (Luxury Edition)
  • Colour Pictures (Luxury Edition)
  • Colour Pictures (Luxury Edition)
  • Colour Pictures (Luxury Edition)
  • Colour Pictures (Luxury Edition)
  • Colour Pictures (Luxury Edition)
  • Colour Pictures (Luxury Edition)
  • Colour Pictures (Luxury Edition)
  • Colour Pictures (Luxury Edition)
  • Colour Pictures (Luxury Edition)
  • Colour Pictures (Luxury Edition)

Miles Aldridge

Colour Pictures (Luxury Edition)

 6.000,00 (Ex VAT)
Please note VAT will be waived if the shipping destination is outside of the EU.

46 x 38 x 5 (Box size)
35,5 x 27,5 (Print size)
This edition contains a set of 9 colour matted photographs and is published on the occasion of the exhibition ‘Acid Candy’ in 2008.
Each print is signed and numbered by the artist
Housed in a luxury handmade linen slipcase
Edition of 15
2008

Born in London in 1964, Miles Aldridge studied illustration at Central St Martins and briefly directed music videos before becoming a photographer in the mid-90s. He has published his work in many influential magazines including Vogue Italia, Numero, The New York Times and The New Yorker. His work was showcased in Weird Beauty at the International Center for Photography in New York in 2009 and he has works in the permanent collection of the National Portrait Gallery, London and the Victoria & Albert Museum, London. Last summer Aldridge was given a museum retrospective at the Somerset House, London.

Miles Aldridge’s images depict a stupendously glossy and magnetically vibrant world with ultra slick, hyper-lit models and signature acid tones. Miles Aldridge: “If the world were pretty enough, I’d shoot on location all the time. But the world is just not being designed with aesthetics as a priority. So I prefer to rebuild it 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.”

“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.“

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