Dry Heat

Read more

Lowfield Farm, Lincolnshire

Summer 1985

Plant, light, dye destruction print

30.5 x 30.5 cm / 12 x 12 "


Miller speaks of photographic materials and the way they should be used with reverence. His own work would be impossible without Cibachrome. He speaks of the particular tactile qualities of this paper, which he has become used to manipulating, in large sheets, in darkness: he thinks of Cibachrome paper as being as natural and beautiful as a leaf. He regards the early days of photography, when it was shaped by chemicals and paper, as a time of great excitement – which lost its potential when the camera arrived. That excitement became visible again in the photograms of Man Ray and Moholy-Nagy, while he also admires Edward Weston’s ‘intimate feeling for the subtleties of paper’. Miller’s way of working is essentially simple, with the aim that pictures should be made as easily as breathing. The periods in which work can be made are quite short and intense, pursuing ideas with light and darkness.


From introduction by Mark Haworth-Booth in Elective Affinities by Susan Derges and Garry Fabian Miller, catalogue accompanying exhibition 12 April – 17 May 1996, Michael Hue-Williams Fine Art, 1996.

Back to top