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‘When I enter the gravitational field of Garry Fabian Miller's images, at first I can keep hold of familiar coordinates, recognising the phenomena through language and visual memories. But all the gorgeous chromatic lexicon of the blues – indigo, ultramarine, cobalt, lapis lazuli, cerulean, cyan, porphyry, azure; all the blazing glory of the reds and yellows – scarlet, cinnabar, crimson, ruby, saffron, jasper, and orpiment - fall away before the thing itself, the unfurled depths and subtlety of luminous colour as it happens for real in Fabian Millers's light-writing of time, sun, and moon.’

Marina Warner, The Colour of Time, Black Dog, September 2010

Garry Fabian Miller, one of the UK’s most progressive artists, has created a series of spectacular new work, presented for the first time in London this autumn in The Colour of Time. Widely perceived as Fabian Miller’s most ambitious and engaging work to date, the monumental scale of works such as The Beckoning I and II, The Night Cell and The Enclosure marks a significant advance in his unique visual language, formed over a 30 year career.

Concurrently Shadow Catchers: Camera-less Photography opens at the nearby Victoria & Albert Museum, the first UK museum exhibition of contemporary camera-less photographs, including a retrospective selection of work by Garry Fabian Miller and a further two new large-scale pieces.

Whilst walking on the moor close to Garry Fabian Miller’s home and studio in Devon, he pointed out the distant circle of an early settlement ingrained in the hillside; an ancient reminder of the very first marks made by man. The desire to describe ourselves, our place in the world and our relationship to the forces of the sun, moon and Earth has been a constant of human existence; no image forgets this history. The cumulative knowledge of a life’s work is reflected in the clarity and strength of these striking new works, directly connected to that history. Fabian Miller achieves here his aspiration that “the object which appears should come with a grace and simplicity, as if it has always been there, just like breathing”.

As Nigel Warburton has written these works are ‘moments of rarefied perception that take you beyond the mundane, but which remain within the world of human beings, nature and light – the extraordinary in the everyday’.

‘If understanding is in fact a process of unforgetting, then to consider the otherwordly is a process of unclogging the mind, suspending the worldliness that you have acquired, giving truth some room to make itself clear. The making of beauty is an act of redemption. It pulls back into consciousness things which consciousness would otherwise deny. The suggestiveness of the almost seen, which is the realm in which Fabian Miller thrives, is a dramatisation of that clawing back into the half-forgotten world’

Adam Nicolson, The Colour of Time, Black Dog, September 2010

Abstract art, like music, can occupy a place outside and beyond language. When two colours meet, a place exists between them that is unique to each individual’s perception and experience. The colours pulse and resonate, encouraging us to engage viscerally rather than intellectually. The centre of each picture is particularly important, often creating a window, suggesting the idea of a way through to another place or way of seeing. The direct route of light from imagination to paper confounds the ‘idea’ of photography, in that these ‘places’ do not exist in any tangible form in the physical world. Fabian Miller has created places of rest, places in which to disappear, perhaps to that ‘other reality’ that we all search for; a physical presence that envelopes us, draws us in, and surrounds us in fields of colour and light.