The Tiltyard, Gingko

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Dartington, Autumn/Winter 2010 

Leaf, light, dye destruction print

196.2 x 197 x 7 cm / 77.25 x 77.5 x 2.75 " (framed)

 

Garry Fabian-Miller's is a more grounded, less ethereal art than at first appears. It is intimately tied to lived time, the rhythms of nature and place, and the everyday—much more so than many viewers realise. These images seem infused with profound meaning, but that meaning is not religious, mystical or otherworldly: it has humanity at its core and takes its inspiration from lived existence not from a promise of rewards in a world to come.

 

The Colour of Time by Garry Fabian Miller, from the essay ‘Time and Light’ by Nigel Warburton.

Black Dog, London 2010.

 

 

Certainly Garry Fabian Miller would hope with Tom Paine that a political and ecological spring is almost with us: 'It is now towards the middle of February. Were I to take a turn into the country, the trees would present a leafless winterly appearance. As people are apt to pluck twigs as they walk along, I might perhaps do the same, and by chance might observe, that a single bud on that twig had begun to swell… I should instantly conclude, that same appearance was beginning, or about the begin, everywhere: and that vegetable sleep will continue longer on some trees and plants than others, and though some of them may not blossom for two or three years, all will be in leaf in the summer, except those that are rotten. What pace the political summer may keep with the natural, no human foresight can determine. It is, however, not difficult to perceive that the spring is begun…' The Rights of Man (1791-2).

 

From the essay The Legible Tree by Chris Titterington in catalogue for exhibition The Tree. A Return to Grace.

Usher Gallery, Lincoln 1987.

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