Mylne's artwork needs no such buffer". Other reviewers have described Mylne as a "master technician", and commended the "stunning likenesses" he portrays, which "gain a lifelike presence". Mylne's photorealist ballpoint pen artworks are so finely inked that they are often mistaken for photo prints, even when viewed up-close. Mylne has related one instance where his artwork was denied entry into a "notable" exhibition because "photography" was not permitted. Dylan Jones, writing about Mylne for "British GQ" in 2015, both complemented and questioned the attraction of his ballpoint artwork. While on one hand stating, "when they're good they're very good indeed" and calling Mylne an "extraordinary talent", Jones also comments that "taken from famous photographs", the imagery takes on "a cheap, second-hand flavor", and cites a third-party source who stated "you're appreciating the technique rather than artistic flair". In defense of occasional criticism about lack of depth in his work, James had previously countered that true fans of his work are "taking it at face value" and, as his work is not intended to serve any deeper purpose, he's 'fine with that'. At the same time, Mylne's output had been undergoing notable shifts throughout 2014 beyond the "straightforward" photorealism of several years earlier. Mylne acknowledges some artistic influence from street art during the early 2000s, owing to disillusionment by the sensationalism of the YBA generation prevalent at that time. Mylne used his "Anti Con Art" series (2014–present) to begin airing views about contemporary art and art world politics, in general. Tibetan Buddhism is a continuing inspiration to the artist. In 2014 Mylne parted ways with his longtime gallery. He now lists himself as "independent" of gallery representation.