‘Miracle Mile Man’ takes its name from the famous Los Angeles’s district near the Hollywood Hills where dramas and dreams unfold. This is where Katja Seib spent time taking photographs of people she met during a trip around North America. Seib’s work, whilst always rooted in realist codes, at times adopts an aura that can best be described as oneiric, even disquieting.
In ‘Miracle Mile Man’, Seib develops ideas of intrusion and voyeurism seen in some of her other work. In her 2014 painting, ‘Coming and Arriving’ the body of the beholder appears to intrude the boundary between artwork and reality in extending an arm, opening the door on a couple’s intimate moment.
Unlike Seib’s earlier compositions however, ‘Miracle Mile Man’ defuses the voyeuristic conceit of its invasive potency. In this composition, the nude figure looks unsurprised through the open door to the on-looker, as though their gaze was anticipated and, suggested by the figure’s slouched shoulders, somehow waited for.