Miles art

Miles Johnston- graphite on stonehenge for a show at the Be In Art Gallery. The goal was to draw someone lying under the shade of a tree. This fits my theme because where the shadows appeared on the boy's body, Miles vertically carved them out. I think it looks like puzzle pieces. He says he had a lot of fun with this piece and it came together rather quickly.

Miles Johnston (@Miles_Art) upcoming solo exhibition "Liminality" opens in NYC on Saturday December 14th! This extensive body of work includes drawings in graphite and ink as well as paintings in watercolor and oil. Join us for a book signing of Miles' first monograph from 6-7pm followed by an opening reception from 7-8pm at 54 Ludlow Street. Email us to be added to the collector's preview list!

Malmö, Sweden-based artist Miles Johnston portrays subjects whose figures are in states of flux, whether through fragmented bodies, multiplied faces, or limbs contorted into impossible positions. Often depicting Johnston (previously) or his partner, the graphite portraits distort typical anatomy in a way that balances the familiar with the unknown and visualizes the thoughts and emotionsContinue reading "Graphite Portraits Distort and Intertwine Subjects to Visualize Metaphors of the Body"

Ink version and oil painted version

Art by @yellowsundayzart on Insta

Segmented and Compartmentalized Graphite Portraits by Miles Johnston | Colossal

Miles Johnston Abstract Drawing / Watercolor: Tunnel Vision

Miles Johnston

Receiver by Miles Johnston on ArtStation.

#milesmorrales #thatsallitismiles #spiderverse #graffti #neoncolors

London-based illustrator Miles Johnston uses graphite pencils to create surreal portraits of girls. “Entitled ‘Transformations’, Johnston’s ongoing series is divided into four parts: ‘Deform’, ‘Divide’,…

Miles Johnston draws and paints figures in a way that puts the viewer immediately in mind of the psyche. It is almost impossible to look at his subjects and not consider what must be going on for them internally, an effect elicited by the emotive poses of Johnston’s figures, in combination with his use of distortion, r