Miles Aldridge b. 1964

Works
  • Miles Aldridge, A Drop of Red #2, 2001
    Miles Aldridge
    A Drop of Red #2, 2001
    Chromogenic print
    43 x 60 ins
    109.22 x 152.4 cm
  • Miles Aldridge, A Family Portrait #13, 2011
    Miles Aldridge
    A Family Portrait #13, 2011
    Chromogenic print
    50 x 50 ins
    127 x 127 cm
  • Miles Aldridge, A Precious Glam #2, 2011
    Miles Aldridge
    A Precious Glam #2, 2011
    Chromogenic print
    60 x 45 2/8 ins
    152.4 x 114.94 cm
  • Miles Aldridge, Actress #4, 2012
    Miles Aldridge
    Actress #4, 2012
    Chromogenic print
    33 1/8 x 50 ins
    84.45 x 127 cm
  • Miles Aldridge, Actress #6, 2012
    Miles Aldridge
    Actress #6, 2012
    Chromogenic photograph
    37 x 50 ins
    93.98 x 127 cm
  • Miles Aldridge, Bang! Bang!, 2017
    Miles Aldridge
    Bang! Bang!, 2017
    Screenprint in colours
    38 2/8 x 47 1/2 ins
    97.16 x 120.65 cm
  • Miles Aldridge, Better Than Life (after Miller), 2017
    Miles Aldridge
    Better Than Life (after Miller), 2017
    Screenprint in colours
    29 1/2 x 40 1/2 ins
    74.93 x 102.87 cm
  • Miles Aldridge, Chromo Thriller #2, 2012
    Miles Aldridge
    Chromo Thriller #2, 2012
    Chromogenic print
    55 1/2 x 75 ins
    140.97 x 190.5 cm
  • Miles Aldridge, Chromo Thriller #3, 2012
    Miles Aldridge
    Chromo Thriller #3, 2012
    Chromogenic print
    55 1/2 x 75 ins
    140.97 x 190.5 cm
  • Miles Aldridge, Dinner Party #7, 2009
    Miles Aldridge
    Dinner Party #7, 2009
    Chromogenic print
    40 x 60 ins
    101.6 x 152.4 cm
  • Miles Aldridge, Ex Libris, 2019
    Miles Aldridge
    Ex Libris, 2019
    Screenprint in colours
    46 x 36 ins
    116.84 x 91.44 cm
  • Miles Aldridge, First Impressions #1, 2006
    Miles Aldridge
    First Impressions #1, 2006
    Chromogenic print
    40 x 60 ins
    101.6 x 152.4 cm
  • Miles Aldridge, First Impressions #2, 2006
    Miles Aldridge
    First Impressions #2, 2006
    Chromogenic print
    40 x 60 ins
    101.6 x 152.4 cm
  • Miles Aldridge, Hell...It’s Only Forever (after Miller), 2017
    Miles Aldridge
    Hell...It’s Only Forever (after Miller), 2017
    Screenprint in colours
    52 6/8 x 29 1/2 ins
    133.99 x 74.93 cm
  • Miles Aldridge, Home Works #5, 2008
    Miles Aldridge
    Home Works #5, 2008
    Chromogenic photograph
    60 x 45 2/8 ins
    152.4 x 114.94 cm
  • Miles Aldridge, I Only Want You To Love Me #1, 2011
    Miles Aldridge
    I Only Want You To Love Me #1, 2011
    Chromogenic print
    34 1/2 x 50 ins
    87.63 x 127 cm
  • Miles Aldridge, I Only Want You To Love Me #4, 2011
    Miles Aldridge
    I Only Want You To Love Me #4, 2011
    Chromogenic print
    33 1/8 x 50 ins
    84.45 x 127 cm
  • Miles Aldridge, Immaculée #3, 2007
    Miles Aldridge
    Immaculée #3, 2007
    Chromogenic print
    75 x 57 6/8 ins
    190.5 x 146.69 cm
  • Miles Aldridge, Immaculée #5, 2007
    Miles Aldridge
    Immaculée #5, 2007
    Chromogenic print
    75 x 57 6/8 ins
    190.5 x 146.69 cm
  • Miles Aldridge, In Shadows I Boogie (after Miller), 2017
    Miles Aldridge
    In Shadows I Boogie (after Miller), 2017
    Screenprint in colours
    40 1/2 x 29 1/2 ins
    102.87 x 74.93 cm
  • Miles Aldridge, New Utopias #2, 2018
    Miles Aldridge
    New Utopias #2, 2018
    Screenprint in colours with silver ink
    43 6/8 x 38 1/2 ins
    111.13 x 97.79 cm
  • Miles Aldridge, New Utopias #3, 2018
    Miles Aldridge
    New Utopias #3, 2018
    Screenprint in colours with silver ink
    34 2/8 x 59 ins
    87 x 149.86 cm
  • Miles Aldridge, New Utopias #4, 2018
    Miles Aldridge
    New Utopias #4, 2018
    Screenprint in colours with silver ink
    43 6/8 x 38 1/2 ins
    111.13 x 97.79 cm
  • Miles Aldridge, Scream #4, 2011
    Miles Aldridge
    Scream #4, 2011
    Chromogenic print
    40 x 60 ins
    101.6 x 152.4 cm
  • Miles Aldridge, Short Breaths #5, 2012
    Miles Aldridge
    Short Breaths #5, 2012
    Chromogenic print
    60 x 45 2/8 ins
    152.4 x 114.94 cm
  • Miles Aldridge, Spot The Fake #1, 2006
    Miles Aldridge
    Spot The Fake #1, 2006
    Chromogenic print
    36 2/8 x 60 ins
    92.08 x 152.4 cm
  • Miles Aldridge, Tan Lines, 2019
    Miles Aldridge
    Tan Lines, 2019
    Screenprint in colours
    52 6/8 x 70 6/8 ins
    133.99 x 179.71 cm
  • Miles Aldridge, The Doll’s House, 2016
    Miles Aldridge
    The Doll’s House, 2016
    Screenprint in silver and black ink
    38 2/8 x 47 1/2 ins
    97.16 x 120.65 cm
  • Miles Aldridge, The Ninth Hour (after Cattelan), 2016
    Miles Aldridge
    The Ninth Hour (after Cattelan), 2016
    Chromogenic print
    45 5/8 x 66 2/8 ins
    116.2 x 168.28 cm
  • Miles Aldridge, The Pure Wonder #5, 2005
    Miles Aldridge
    The Pure Wonder #5, 2005
    Chromogenic print
    60 x 45 2/8 ins
    152.4 x 114.94 cm
  • Miles Aldridge, The Rooms #2, 2011
    Miles Aldridge
    The Rooms #2, 2011
    Chromogenic print
    40 x 60 ins
    101.6 x 152.4 cm
  • Miles Aldridge, Trunk Food #4, 2007
    Miles Aldridge
    Trunk Food #4, 2007
    Chromogenic print
    60 x 50 ins
    152.4 x 127 cm
  • Miles Aldridge, Untitled (after Cattelan) #1, 2016
    Miles Aldridge
    Untitled (after Cattelan) #1, 2016
    Chromogenic print
    60 x 45 5/8 ins
    152.4 x 116.2 cm
  • Miles Aldridge, Untitled (after Cattelan) #3, 2016
    Miles Aldridge
    Untitled (after Cattelan) #3, 2016
    Chromogenic print
    45 5/8 x 66 2/8 ins
    116.2 x 168.28 cm
  • Miles Aldridge, Untitled (after Cattelan) #4, 2016
    Miles Aldridge
    Untitled (after Cattelan) #4, 2016
    Chromogenic print
    60 x 45 5/8 ins
    152.4 x 116.2 cm
Biography

Please contact the gallery for other works available by this artist.

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 eroticized images probe society's idealised notions of domestic bliss where sinister undercurrents swirl beneath a flawless surface. Aldridge 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.

 

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. He went on to study graphic design at Central Saint Martins, graduating with a BA in 1987. Aldridge initially worked as an illustrator and music video director, before turning his attention to photography. 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.

 

Aldridge develops each new photographic narrative by rendering his initial thoughts in ink or pencil sketches with washes of watercolour and pastel. These drawings and storyboards are an essential early stage in his creative process. 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. Aldridge 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. In Aldridge's Chromo Thriller (2012) there is a palpable resonance with David Lynch's neo-noir mystery Blue Velvet, where immaculate façades hide darkly strange stories. As one author has noted: 'Aldridge's female protagonists recall the glamour and splendour of Isabella Rossellini's character whilst at the same time remaining suggestive of something more sinister. 

 

Only rarely does he allow the real world to encroach upon the imagined realm. Through his lens, even reality appears artificial. In the series Capital Gains (2007) and Open Tour (2008) the cities of Washington DC and Paris look cleaner and sleeker than ever before. In The Last Range of Colours (2007), a lone figure in a children's playground evokes both the Technicolor splendour of The Wizard of Oz and the haunting dreamscape of a Giorgio de Chirico painting.

 

A recurring theme throughout Aldridge's oeuvre is the false promise of luxury. Psychedelic interiorsare furnished with the trappings of mid-century suburban comfort: gleaming kitchen appliances, candy-coloured telephones and well-groomed pets denote success.The work conflates historic and modern motifs and makes subtle reference to the art historical canon. The project Immaculée (2007) points to Catholic depictions of female saints in ecstasy, whilst his portraits of Lily Cole (2005) and Maisie Williams (2017) draw inspiration from Northern Renaissance masters such as Albrecht Dürer and Hans Holbein. Pop Art tropes feature predominantly: Coca-Cola logos (3D, 2010; A Family Portrait #14, 2011), soup cans and tomato ketchup bottles (A Drop of Red #2, 2001; First Impression, 2006) all form a striking part of his visual lexicon.

 

His fascination with art history led Aldridge to undertake projects with several significant

contemporary artists including Maurizio Cattelan, Gilbert & George and Harland Miller. For theproject after Cattelan (2016), he was invited by Cattelan to respond to the Italian artist's exhibition, Not Afraid of Love, in the grand neoclassical rooms of the Monnaie de Paris. The resulting series of c-type photographs depicts statuesque nudes dominating Cattelan's hyperreal sculptures in a series of absurdist tableaux. A second series, titled Love Always and Love All Ways after Gilbert & George (2016), was made with the British duo at their London townhouse. Drawing on the conventions of Victorian melodrama, Aldridge devised a series centred around the story of an enigmatic young visitor staying at the house for the weekend. In a further nod to Victoriana, the images were printed using the nineteenth-century photogravure process, whereby an etched copper plate produces highly detailed intaglio prints. The monotone prints were augmented with blocks of bold colour and hand-painted details to create a contemporary aesthetic.

 

His most recent collaboration was with Harland Miller, known for his paintings of imaginary book covers that were partly inspired by Alan Aldridge's 1960s designs for Penguin paperbacks. In a satisfying symmetry, Aldridge transformed Miller's paintings into real books, used as props in his photoshoot. The resulting screenprints evoke the grainy colour supplements of Aldridge's youth and were published by Poligrafa, Barcelona's renowned fine art publisher, who launched them at the 2017 edition of Art Basel Miami Beach. Poligrafa went on to publish the subsequent screenprint series New Utopias, which they exhibited at the 2018 edition of Art Basel. Most recently, Tan Lines, one of Aldridge's largest screenprints to date, was unveiled by Poligrafa at the 2019 edition of The Armory Show, New York.

 

Aldridge's major exhibitions include the retrospective I Only Want You to Love Me at Somerset House, London (2013) and solo shows at The Lumiere Brothers Photography Centre, Moscow (2019) and OCA, São Paulo (2015). In 2014 he was commissioned by Tate Britain to create a photographic installation in response to Mark Gertler's 1916 painting Merry-Go-Round. London's National Portrait Gallery houses a large collection of Aldridge's portraits and his work is held in prestigious museums and institutions around the world including the V&A and British Museum in London, the Fondation Carmignac and the Palais Galliera in Paris, the Davis Museum at Wellesley College, Massachusetts and the International Centre of Photography in New York.