Golden Line 4 (Triptych)

Read more

Each Golden Line can be read as a primal coastal landscape with the sea reflecting the rays of a rising or setting sun. The horizontal bands are divided by streaks of flaming orange or liquid gold. Given their title, and way the images deal acutely with proportion, one is reminded of the ‘golden section’ – a mathematical value much studied during the Renaissance used to make pleasing pictorial compositions.


And both bodies of Fabian Miller’s works here evoke James Abbott McNeill Whistler’s famous monochrome ‘harmonies’, ‘arrangements’ and especially ‘nocturnes’: landscape paintings of the last quarter of the 19th century in which Whistler affirmed that painting could aspire to the abstract art of music. Similarly, for Moholy-Nagy, the light sensitive layer of photographic paper was a clean sheet on which notes could be made in light.


Blue Gold by Garry Fabian Miller, from the essay by Martin Barnes, Curator, Photographs, Victoria and Albert Museum in the catalogue accompanying the exhibition Garry Fabian Miller, Blue Gold, 23 April-29 May 2004, Hamiltons, London.



The constancy of the horizon as it appears through the Night Sea, Golden Line and Red Pool series and the almost dictatorial presence of the sun are perhaps the two key ingredients of Fabian Miller’s imaginary world: the motifs to which his imagination returns again and again.


Exposure, from the ‘Afterword’ by Richard Ingelby. Ingleby Gallery, Edinburgh, 2005.


Back to top

Golden Line 4 (Triptych) installation

Read more


Light, oil, dye destruction prints

71 x 173 cm/ 28 x 68 "


Back to top