{"id":1468,"date":"2025-09-05T19:47:46","date_gmt":"2025-09-05T19:47:46","guid":{"rendered":"http:\/\/localhost\/reframingphotography\/content\/resources\/artists\/noel-myles\/"},"modified":"2025-10-01T09:09:00","modified_gmt":"2025-10-01T09:09:00","slug":"noel-myles","status":"publish","type":"content","link":"https:\/\/staging.routledgelearning.com\/reframingphotography\/resources\/artists\/noel-myles\/","title":{"rendered":"Noel Myles"},"content":{"rendered":"\n

NOEL MYLES\u2019S WEBSITE<\/h2>\n\n\n\n

http:\/\/www.noelmyles.co.uk\/<\/a><\/p>\n\n\n\n

NOEL MYLES, BETWEEN PHOTOGRAPHY<\/em> EXHIBITION AT MINORIES GALLERY, 2013<\/h2>\n\n\n\n

http:\/\/www.youtube.com\/watch?v=s0XVBoywgWQ<\/a><\/p>\n\n\n\n

NOEL MYLES, EARTH, SAINSBURY CENTRE FOR VISUAL ARTS, 2013<\/h2>\n\n\n\n

http:\/\/www.youtube.com\/watch?v=7Gwa4TwBIf4<\/a><\/p>\n\n\n\n

NOEL MYLES, AT LUMAS<\/h2>\n\n\n\n

http:\/\/www.lumas.com\/artist\/noel_myles\/<\/a><\/p>\n\n\n\n

NOEL MYLES, ARTIST IN RESIDENCE AT ITN<\/h2>\n\n\n\n

https:\/\/www.youtube.com\/watch?v=lDwPiAzWIdo&t=169s<\/a><\/p>\n\n\n\n

NOEL MYLES, PHOTOGRAPHS<\/em><\/h2>\n\n\n\n

I wanted to give my photographs physical presence. I felt the need to counterbalance the depicted illusion within the image and give the entire photograph object status.<\/em><\/p>\n\n\n\n

One immediate way was to tear the photograph in half and then reconnect it. Even if it showed a vast landscape, the tear would show clearly taht this was a piece of paper measuring a few inches in each direction. The tear would go through the border. The border was part of the photograph as object. I carried this further by making the mount card and frame an active part of the object too, making it a whole and complete entity.<\/em><\/p>\n\n\n\n

Staples, cellotape, eyelets, cup stains, censorship stamps, and finger prints add to this attribute. Pixelation brings the image to the paper surface.<\/em><\/p>\n\n\n\n

In many cases, the photographs are re-scanned and printed during the composition process and then re-worked. Physical tears can be partly integrated with printed tears in a ‘lower’ level. Some cup stains are ‘within’ the photograph and others are finally made with paint or ink onto the ‘top’ surface.<\/em><\/p>\n\n\n\n

I felt these separate layers of time were important: giving the photograph its own history. I liked the notion that you become aware that these photographs have been looked at by someone before you and also that a decision has been made as to how much of it you may be allowed to see. Some areas have been blacked out. In about half the cases, you can see the very first file before it was interfered with.\u00a0<\/em><\/p>\n\n\n\n

The pairs are not necessarily sequential. There’s not a strict before and after version. There is an internal formal logic that dictates placement within the overall composition. Pairing requires left to right reading, keeping the eye scanning the surface to partially resist reading into the image. Maintaining a tension between the anecdote and the physical presence of the photograph.\u00a0<\/em><\/p>\n\n\n\n

These photographs reflect the awareness of an all-pervading sense of deceit that abounds within our society along with its close cousin, censorship.\u00a0<\/em><\/p>\n\n\n\n

Noel Myles<\/strong>,\u00a0Inspection<\/em>\u00a0Noel Myles<\/strong>,\u00a0Deception<\/em>\u00a0Noel Myles<\/strong>,\u00a0Infringement<\/em>\u00a0\"NoelNoel Myles<\/strong>,\u00a0Further Consideration<\/em>\u00a0\"NoelNoel Myles<\/strong>,\u00a0Lost at Sea<\/em>\u00a0Noel Myles<\/strong>,\u00a0Were That It Wasn’t<\/em>\u00a0\"NoelNoel Myles<\/strong>,\u00a0Watchful<\/em>\u00a0Noel Myles<\/strong>,\u00a0It Happened Last Tuesday<\/em>\u00a0\"NoelNoel Myles<\/strong>,\u00a0Redacted<\/em>\u00a0<\/h2>\n\n\n\n

NOEL MYLES, STILL FILMS<\/em><\/h2>\n\n\n\n

The challenge I faced with photography was that the instantaneous static viewpoint, provided by the camera\u2019s lens and shutter, didn\u2019t represent the continuous flow of the act of looking. It seemed as if the still photograph had been held back to the level of the dictionary; the single word. It was the visual equivalent of overlooking the potential to link words to convey ideas and meaning. I couldn\u2019t accept the notion of an isolated, decisive moment being capable of encapsulating our experience of life.<\/em><\/p>\n\n\n\n

I photograph whatever catches my eye; accumulating this material over hours, days or weeks.   Several visits might be made to the same location. I think of these frames as the components of the photograph, not photographs themselves. The creative part of the process takes place in the studio, away from the camera. I look for formal qualities of line, tone, texture and colour, as well as subject matter, to link the individual units. The composition evolves by adding and removing; searching for harmonious connections. I have worked with both negatives and prints. The negatives were exposed onto a single sheet of platinum and palladium paper. Recently, I have added colour contact prints to earlier palladium photographs; in some cases photographing the same tree a decade later.<\/em><\/p>\n\n\n\n

It seems to me that photographers have largely adhered to the pictorial conventions that prevailed at the time when photographs were first made permanent. I am surprised that when painters broke away from following renaissance laws of perspective at the end of the 19th<\/sup> century, photographers didn\u2019t go with them. It makes no sense to say photography liberated painters to explore new modes of depiction. It is worth noting the first exhibition of Cezanne\u2019s watercolours in America, was held in Stieglitz\u2019s own gallery, \u2019291\u2019 in 1911 but seemed to have had little influence on photographers. There are centuries worth of modes of depiction that are not restricted to the single viewpoint, for photographers to inspect.  <\/em><\/p>\n\n\n\n

Perhaps it\u2019s true that good photographs are made, not shot, taken or captured. The task for photographers is to transcend the mirrored anecdote to reveal significance in our surroundings that makes us pause for thought. Perhaps it\u2019s always been this way. I think of my own work as exploring the territory between still photography and moving image, hence the umbrella title \u2018Still Films\u2019. My reference points are within painting, not photography. I find constant stimulus in Cezanne\u2019s watercolours, Cubism, Romanesque art and Rothko\u2019s painting.<\/em><\/p>\n\n\n\n


<\/em>Noel Myles<\/strong>, Earth<\/em><\/p>\n\n\n\n


Noel Myles<\/strong>, Sainsbury Centre for Visual Arts<\/em><\/p>\n\n\n\n


Noel Myles<\/strong>, 5 Days in the Apennines<\/em><\/p>\n\n\n\n


Noel Myles<\/strong>, Corsica<\/em><\/p>\n\n\n\n


<\/em>Noel Myles<\/strong>, This Time Last Year<\/em><\/p>\n\n\n\n


Noel Myles<\/strong>, Looking<\/em><\/p>\n\n\n\n


Noel Myles<\/strong>, Still Film of an Oak at Wormingford
<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

NOEL MYLES\u2019S WEBSITE http:\/\/www.noelmyles.co.uk\/ NOEL MYLES, BETWEEN PHOTOGRAPHY EXHIBITION AT MINORIES GALLERY, 2013 http:\/\/www.youtube.com\/watch?v=s0XVBoywgWQ NOEL MYLES, EARTH, SAINSBURY CENTRE FOR VISUAL ARTS, 2013 http:\/\/www.youtube.com\/watch?v=7Gwa4TwBIf4 NOEL MYLES, AT LUMAS http:\/\/www.lumas.com\/artist\/noel_myles\/ NOEL MYLES, ARTIST IN RESIDENCE AT ITN https:\/\/www.youtube.com\/watch?v=lDwPiAzWIdo&t=169s NOEL MYLES, PHOTOGRAPHS I wanted to give my photographs physical presence. I felt the need to counterbalance the depicted illusion within […]<\/p>\n","protected":false},"author":2,"parent":304,"menu_order":0,"template":"resource-artist","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"topic":[8,12,13,16],"class_list":["post-1468","content","type-content","status-publish","hentry","category-uncategorized","topic-landscape","topic-presentation","topic-reproductive-processes","topic-vision"],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/staging.routledgelearning.com\/reframingphotography\/wp-json\/wp\/v2\/content\/1468","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/staging.routledgelearning.com\/reframingphotography\/wp-json\/wp\/v2\/content"}],"about":[{"href":"https:\/\/staging.routledgelearning.com\/reframingphotography\/wp-json\/wp\/v2\/types\/content"}],"author":[{"embeddable":true,"href":"https:\/\/staging.routledgelearning.com\/reframingphotography\/wp-json\/wp\/v2\/users\/2"}],"version-history":[{"count":1,"href":"https:\/\/staging.routledgelearning.com\/reframingphotography\/wp-json\/wp\/v2\/content\/1468\/revisions"}],"predecessor-version":[{"id":2453,"href":"https:\/\/staging.routledgelearning.com\/reframingphotography\/wp-json\/wp\/v2\/content\/1468\/revisions\/2453"}],"up":[{"embeddable":true,"href":"https:\/\/staging.routledgelearning.com\/reframingphotography\/wp-json\/wp\/v2\/content\/304"}],"wp:attachment":[{"href":"https:\/\/staging.routledgelearning.com\/reframingphotography\/wp-json\/wp\/v2\/media?parent=1468"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/staging.routledgelearning.com\/reframingphotography\/wp-json\/wp\/v2\/categories?post=1468"},{"taxonomy":"topic","embeddable":true,"href":"https:\/\/staging.routledgelearning.com\/reframingphotography\/wp-json\/wp\/v2\/topic?post=1468"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}