Jonathan Miles is a painter, writer and
lecturer. He trained at the Slade School of Art (1969-73) developing practices
relating firstly to performance, installation and video before shifting into
the realm of politicised image and text works. In the late seventies, early
eighties he was involved with ZG Magazine in both written and editorial
capacity. In this period the art work utilised felt tip drawings on paper,
often configured in the form of large scale letters (HIT) or simple vertical
panels. This practice was abandoned and gradually a painting practice emerged
but remained private out of a sense of aesthetic withdrawal. In this time a
practice of fictional writing started to evolve and this featured as being a
component part of his aesthetic presentation with exhibition form. The main
idea of this practice is that both elements suspend the other within an
indeterminate relationship such that a gap might appear as an in-between.
Invariably the paintings are in large
groups that might then be composed as composite grids or even in piles. They
are composed out of blurring the lines that might distinguish style, genre,
abstraction or figuration and as such exist as metaphorically broken or
confused sentences that lack clear punctuation. In this respect they stand
aside of any claim, conceptual or otherwise, in order that they simply occur
within the space of their own presentation.
The writing occupies several forms:
catalogue essays, gallery introductions, aphoristic writing, lectures and short
fictions. At times writing might be a hybrid of two or several forms but the
play between the oral and the written is invariably in evidence. At present is
involved in developing a ewikif site on aesthetic theory in the RCA, which in
part evolved from the practice of running a reading group.
Catalogue essays include: Miho Sato, Daniel G.
Cramer, Haris Epaminonda, Ailbhe Ni Bhriain, Kei Ito, Gabriel Klasmer, Mustafa
Hulusi, O Zhang, Vanda Playford, Teresita Denis, as well as varied group