Pasadena Museum of Art
Christopher Miles’s biomorphic sculptures have life, one that’s visible in the marks, dents, and patterns that inform their surfaces. Bridging humor and the grotesque, they speak to the aesthetics of painterly abstraction and trash art, with an awkward beauty that tips over into elegance. These expressionistic objects meet all the requirements of classical sculpture—they have a strong figurative presence with cadence, posture, gesture, and weight—but they are fabricated in a spontaneous and intuitive way from crumpled paper and twists of aluminum covered in runny clots of gold, ochre, red, cloying pink, and bilious green paint. Each sculpture is supported on narrow lengths of aluminum tubing that resemble the legs of a ballet dancer... see the entire review in the print version of October’s Sculpture magazine.