By Miles Kinghorn: While some would say my inability to settle on a single medium would be evidence of larger commitment issues, I prefer to think of it as "I just like a lot of different things." Having grown up drawing, and then transitioning to film and photography as I went on to college, I've always been interested in different styles and techniques; every medium provides its own advantages and drawbacks, and it's fun to play in those sandboxes.
After being raised in Texas and subsequently attending college there, I moved out to Los Angeles in 2002. I bounced around the design and music video worlds for awhile, working on other peoples' projects while still carving out time to develop my own work. Eventually, I landed at a motion graphics shop that lets me indulge my various artistic interests; depending on the project, I might be shooting stills, building models, or doing good old-fashioned computer animation. My professional work has informed and accentuated my personal projects, and I can look back through the years and still be instantly reminded of what I was both thinking of and working on at the time I created each piece. Whether it be the clean, modern lines of poster design or the more whimsical series of portraits of friends and family, it's important to me that I can trace my influences and personality through my different undertakings. The result is a body of work that is both fragmented and unified, different yet alike; in short, it's as varied as I am.
"Banked" & "Flat" - Two prints I made for Eat Your Art Out III, a benefit art auction for the Angel City Derby Girls. Both pieces were printed at 12" x 12" and mounted in plastic sleeves to resemble vintage album covers. The repeating circular patterns are evocative of the roller derby track as well as the kinetic motions of the Derby Girls, while the distressed look of the covers harkens back to an earlier time when Derby Girls roamed the earth in packs, wild and free.
"Street" - Photographed in Paris, France,
11.2008. I took a fair amount of photos when I was in Europe, and this
one seemed to perfectly capture the movement of the city while I was there.
Fun fact: the guy in the center is actually a street walking cheetah with
a heart full of napalm. Who knew?
"Night at the Farm" - A long exposure photograph
taken at Fern Creek Farms, 6.2009. This was taken in the dead of night,
with the shutter of the camera left open an extraordinarily long time
to capture what little light was available. The rich blues of the sky
were all done in-camera.
"Red's Barn" - Panorama shot taken in Red's
Barn at Fern Creek Farms, 6.2009. A complete 360 degree view of Red's
workshop; you can see on the edges of the image where they would meet
up. This shot is actually six separate photographs stitched together to
"People I Know" - One of a series of portraits
concerning friends and family. Each person is photographed from multiple
angles, printed out and assembled into cubes, and then rephotographed.
Clever comment about the interchangeability of personal relationships,
or fun excuse to take pictures of friends and then make little artistic
elements out of them? We'll let history decide. 1.2010.
"A Clockwork Heart" - A vector print of a
clockwork heart. Originally conceived as a single element within a larger
framework, the repeating patterns of hearts within hearts and pleasing
color combinations stood well enough on their own that I decided to turn
it into a print. 18"x24", looks pretty spiffy up on a wall.
"1980" - A year near and dear to my heart.
A simple print, but the enlarged-to-the-point-of-abstraction numbers create
interesting shapes and vectors, as well as pleasing pockets of negative
space. 13"x19", 3.2010.
"Miles & Kofie - A Collaboration" - A
collaborative art piece between Kofie & I. Produced for the Codak
& Kofie art show at Shogun, 6.2009. I was handed a number of sketches
and drawings and told to run wild with them; the modular nature of the
drawings spoke to me, so I decided to build on that (literally). The shaky
camera moves and focus-pulling also ties in with the hand drawn aesthetic
of the original piece.
I'm currently accepting requests for prints via email at miles at milesforpresident
dot com, as well as my website at Miles
For President. Bear with the website, as it's currently experiencing
what can only lovingly be described as growing pains.
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