Over the past few years, photography’s relationship to the truth has been a conscious concern of mine. Historically, the medium has been regarded for its ability to accurately depict reality and the photographic object as a form of proof or evidence. The photograph is no longer an object but rather a file, and its ubiquity and accessibility across screens has begun to muddy the waters.
A prevalent concern has spread that the immensity of digital image production and distribution is no longer being curated by humans but by machines and systems that can be easily manipulated; however, these claims often miss the larger issue. The melding of text, image, and authority has always been a recipe for the spread of misinformation and the existence of screen-based images has only contributed to its pervasiveness.
Pictures for Screens (2024) examines these ideas through a fictional narrative based on my own ancestral history, beginning as a historical retelling of a family of four’s journey across Canada, before unraveling significantly and becoming a surreal version of reality as anomalous elements invade the images on display.
Aiden Milroy is a Canadian artist working across photography, film, and installation, with a focus on the visual representation of identity. He uses image-based media to tie personal experiences and intimate moments to wider cultural, political, and social issues to question what these can mean and how they can be understood. Central to the structure of all of his projects is a narrative examining the relationship between reality and fiction. Milroy aspires to continue creating work that resonates with his community, in the hopes of building a positive environment for young artists and creatives. He is based in Toronto, Ontario.