Alonzo Miller Miller (°1975, Edwards, United States) makes photos and photos. By examining the ambiguity and origination via retakes and variations, Miller reflects on the closely related subjects of archive and memory. This often results in an examination of both the human need for ‘conclusive’ stories and the question whether anecdotes ‘fictionalise’ history.
His photos are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in photography. With Plato’s allegory of the cave in mind, he tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
His works are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized world. However, this reference is not intentional, as this kind of art is part of the collective memory. By choosing mainly formal solutions, he often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he makes work that deals with the documentation of events and the question of how they can be presented. The work tries to express this with the help of physics and technology, but not by telling a story or creating a metaphor.
His works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By using an ever-growing archive of found documents to create autonomous artworks, he creates work through labour-intensive processes which can be seen explicitly as a personal exorcism ritual. They are inspired by a nineteenth-century tradition of works, in which an ideal of ‘Fulfilled Absence’ was seen as the pinnacle.
His works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By referencing romanticism, grand-guignolesque black humour and symbolism, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His works are an investigation of concepts such as authenticity and objectivity by using an encyclopaedic approach and quasi-scientific precision and by referencing documentaries, ‘fact-fiction’ and popular scientific equivalents. Alonzo Miller Miller currently lives and works in Colton.
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