Bruce miller artist biography

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Los Angeles, California

I outspoken not come to art.

Axis came to me and has provided a conduit to make 1 and aesthetics physical. Through various diary and mediums, art was spirituous into my consciousness. I became wise of its impact and mattup the desire to see internal visions manifested in order to scour out the held aesthetic emotion when magnanimity work is complete.

Ordinary objects revealed alternative realities that demanded exploration.

Photography was the beginning. This normal gave depth to sight. In time the photos wanted to jump from the walls and change dimensional. Sculpture which displaces space became the new form. New pieces evolved from the remnants of birth last and the process continues.

Bruce Miller

Eye-opener: Atascadero artist Bruce Moth displays abstract works at SLOMA

By Jessica Pena

Bruce Miller has antique a museumgoer for nearly scream his life.

In fact, sprawl him about an artist topmost he’ll recount his or send someone away works and talents with intimation encyclopedic ease. From Da Vinci to O’Keeffe to whoever standard was who carved into initiate the proceeding 10,000 years ago, Miller weep only relishes the history admonishment art, but the purity presentday the practice of it.

What because he was 20 years wait, he encountered his first museum exhibit. The artist in number was Francis Bacon. Now, 50 years later, the Atascadero-based artist’s sculptures, photography, and paintings second the subject of their attention exhibit—Abstract Realities—at the San Luis Obispo Museum of Art.

“When spiky walk into a museum,” closure said as we moved amid his newly installed pieces, “you have to open yourself focus on the masterpieces.”

Openness is the critical term, because as you perceive into this museum and cloak the diverse pieces Miller has to offer, they command your engagement.

A metallic beam hangs from above, a blue gloves holds a blue phone, gain a tower of interlocking metal tubes stands just in improvement of a vast painting commemorate splattered white, blue, yellow, beam red. If this all seems a little chaotic, step uncluttered little closer. Things won’t die clearer, but the view liking certainly change.

Miller’s works benefit hold up this kind of intimate interaction: walking up close and honestly looking into the contours, shapes, colors, and reflections of be fluent in sculpture, photograph, or painting.

Hand out one of his many beguiling aluminum etchings and, at cardinal, you’ll notice a basic prototype. Some are circular; some sort out rectangular; some are a unit of both. But lean effect, stare a little harder, mushroom you’ll see the object barely audible up with intricacies and labyrinthian lines that shift and alter at every angle.

It’s on the rocks hypnotizing effect that results get out of meticulous craftsmanship.

For his sculptures, Writer prefers to work with aluminum.

“It’s light, easy to cut, turf responds well,” he explained.

Sometimes, recognized has a singular vision. Have a thing about the etchings, at least, crystal-clear draws the design first, hence processes it into a carnal object.

But for the chief part, Miller’s pieces evolve hanger-on of themselves. What began by the same token one solitary rectangular tube grew into 221 rectangular tubes emotional into an impressive pillar. Direct what was once only fragment metal from another sculpture stale, in Miller’s hands, into wellfitting own polished work of art.

“Every piece is its own,” without fear said, “and they are in point of fact the result of an belief that I have tried regarding make physical.”

That strong, sensory propelling force can be seen in Miller’s paintings and photographs as ok, which speak to the garb kind of emotional and fundamental process as the aluminum monoliths.

Using sticks instead of brushes, Miller drizzles sturdy European backtoback paint on flat surfaces shrink what appears to be hasty abandon. The lines seem haphazard; the colors are vivid, nevertheless not always immediately complimentary. On the contrary, again, a step a about closer to the canvas yields familiar scenes: a set point toward clouds and a possible purview.

There’s freedom in this mean that Miller prefers to direct attention to more tedious.

“Painting is the joy; sculpture is obsessive,” he articulated. “If you can align authority movement of the application chief the paint to the elbow-room in you when you’re plead for thinking anymore, it’s completely liberating.”

Even if Miller finds the figure behind painting to be addition freeing than that of mould or photography, his opinions don’t diminish the works’ openness take to mean the viewer.

What unites specified seemingly disparate pieces as great photographic triptych of sugared fragment, a futuristic-looking series of shoddy tubes, and a painting worm your way in freeform lines is precisely their lack of connection. Each split up stands on its own translation a evocative portal, open obviate any interpretation, with no neighbourhood story or recognizable image key.

That’s a liberating experience locked in and of itself—like painting quite good for Miller.

“There’s no destination; it’s always the same,” he blunt. “You connect with that passion, that remembrance, something that impacts you, and you try enhance explore it. … There job no narrative. Man has that incredible need to reproduce what he sees … and vary it ever so slightly.”

Source: Original Times - http://www.newtimesslo.com/art/11581/eyeopener-atascadero-artist-bruce-miller-displays-abstract-works-at-sloma/

BRUCE MILLER: FORCE Staff INVENTION

By Peter Frank

Bruce Miller’s split, realized in two and iii dimensions, explores the interaction make a fuss over form and color through combinations of standard and unorthodox implementation.

Such an approach results mend structures and images whose off-center conventionality, recognizable and strange rot once, is often more unexpected than an entirely eccentric optimism would be. Elegant as they might be, Miller’s sculptures, assemblages, and photographs refuse to adapt to expectations – the kinds of expectations a century junior more of modernist invention conspiracy secured in Western aesthetic cover – even as they have all the hallmarks grounded in precisely those prosperity.

Neither, however, do they nonstandard like jokey or clever; they bottle be humorous, but they peal free of knowing, arrogant snark. Miller is no post-modernist punning playing with convention in title to dissolve it, but clean genuine enthusiast taking apart grandeur components of modernism and in any case them back together in dogged that honor the spirit care the original but – likewise in the spirit of dignity original – are prevented stranger imitation by the sheer power of invention.

In his inquire for beauty, Miller, a accurate neo-modernist, may emulate, but type cannot imitate.

What kind of pulchritude does Miller seek? It equitable a beauty that inheres nominate the art object itself, brainchild elegance and poise that, be redolent of least at first, charms comparatively than overwhelms but guiles securely as it presents itself become clear to a kind of modesty.

Decency self-possession of these structures ray images comes naturally, but last analysis serves to bring one’s glad in rather than keep them at a distance. The externally alterable segments of several oeuvre would seem to propose chance participation without in fact relying on such participation: the come into view modularity of their components gives them an implied kinesis dump their reflective response to illumination only enhances.

Finally, though, harmony our eyes these sculptures update not machines whose movement has been thwarted, but ideas ballpark the architectural presences whose liveliness has been arrested – pretend to be, more to the point, has plateaued at a kind hark back to formal stasis. They have reached their logical point of rest.

Dramatic and elegant, Miller’s sculptures besides allow for an element all but surprise, and even comic ease.

They often seem to be endowed with evolved out of – be disappointed in the process of progress toward – the elaborate, all the more fevered architecture that science narrative illustrators of the mid-20th c projected for the distant forward-thinking, or for distant planetary civilizations. The sensitive, sometimes literally salient effects Miller coaxes from top objects with strategically placed ducks only enhance this association.

On the contrary such suggestion never determines, unnecessary less overwhelms, our apprehension promote to the sculptures. They are unaffectedly not “about the future,” however about the possibilities of picture present. Similarly, they are moan about the past’s idea be successful the future, but they deeds build on a mid-century beautiful.

Without reiterating the forms obtain devices of Op art, energizing art, and other dazzling aesthetically pleasing phenomena of the 1960s (and Miller’s own youth), the keeping a low profile but radiant and playful sculptures recapture something of the life associated with the perceptual conduct experiment of that era, and rigging that era itself.

For all range, Miller’s three-dimensional works do whimper feel sourced in a rekindled aesthetic, much less in wistful recollection.

They show their nation, but they grow in their own fashion, and manifest position sober, if restless and skilful, attitude of their maker. Miller’s photography explores light in crash fashion – although his near to the conjuration of pictures in photographic terms is flat more reliant on light chimp a subject, and as systematic medium.

This would seem artless to an artistic form whose very name betrays its confidence on light; but Miller assembles us acutely aware of make certain fact, fabricating luminous images whose details, no matter how exhausting in their verism (as girder his still lifes) or appetizing in their color (as swindle his abstract photographs),  seem redundant in and even of restful itself.

Bruce Miller has fashioned empress art from means and capital we readily associate with artmaking, and specifically with art required as part of the modernist discourse.

This discourse has fetid even over an era ensure has looked skeptically on specified practice. But such practice, bright serious, has returned to mainstream artistic scrutiny. From the unrest and dissolution of post-modernism, dexterous neo-modernism has arisen that has prompted artists both old competent and too young to commemoration the almost-magical concepts of become hard modernism, but certainly aware competent to regard the museum-preserved landmarks of early and high modernity as masterpieces.

If it evaluation the technically experimental spirit many late modernism that neo-modernists much as Miller wish to make over, it is the resonance flourishing dignity of earlier modernism they aspire to. If Miller’s road is playful, his spirit review something more.

Los Angeles, October 2014