Rome

Garry Fabian Miller

Valentina Moncada

In the series of works entitled “Thoughts of a Night Sea,” 2000, Garry Fabian Miller seems to be returning to the nineteenth-century origins of photographic technique. In fact, he uses neither camera nor film but works in the darkroom directly with light and with paper prepared to receive its impression. The horizon between sky and sea has long been his favored motif. In his earlier series titled “The Sea Horizon,” 1976–77, there was a real referent, the Severn River estuary, but here, the luminescent horizontal strips that gather at the center of the image do not correspond to anything real. They are the result of the light sources and filtering systems that Fabian Miller arranges in the darkroom to control form, brightness, and the tonal values through which light interacts with the dark blue ground.

Eliminating traditional photographic apparatus along with the object as an external

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