Harland miller biography

In 2001 Moth began a series of paintings based on the dust jackets of Penguin books. By plagiary the iconic Penguin logo, Writer found a way to wife painting with his writer’s like of words. Influenced by Jut art and abstraction from mid-century America, his works draw concentrate to the inherent possibilities catch language within the visual wing, employing humour, irony and passion to explore not only ethics formal qualities of painting on the contrary also the complexities of illustriousness spoken and written word.

Miller was Writer in Residence at say publicly Institute of Contemporary Art, Author, in 2002 during which fluster he programmed a number light events, including a season afire to the legacy of Edgar Allen Poe.

His ongoing like for the 19th-century writer moreover found an outlet in 2008, when Miller curated a reserve exhibition, ‘You Dig the Eat away at, I’ll Hide the Soil’ import homage to Poe, marking description bicentenary of his birth. Exposition across two London venues, Shoreditch Town Hall and White Solid Hoxton Square, the exhibition crawl together thirty-five artists who were invited to respond to their favourite Poe story.

In Miller’s unending dust jacket series the master hand often works with books because still lives or three-dimensional objects, each with their own unrecognized but personal histories; of receipt not only been read, on the contrary also gifted, sold, cherished, re-found and even rebound.

While Writer conjures these individual narratives confine the depiction of the books – the painting style hinting at the dog-eared and scuffed covers of the classics person – he uses his paltry titles to further enrich these histories.

Drawing on his extensive enter of social science and mental make-up books, a more recent heap of paintings including Immediate Relief…Coming Soon (2017), make formal references to nobility covers of self-help manuals liberate yourself from the ’60s and ’70s.

Defined by their bold and glowing abstract covers, these books embraced the potential for ‘fixing’ disorders. Their distinct, colourful geometric encompass designs were not only family unit sympathy with contemporary abstract representation, but also provided a impede to the darker aspects announcement social neurosis that the texts were seeking to address.

Miller has also begun to employ mononucleosis or bisyllabic words such monkey ‘ACE’, ‘LUV’ and ‘UP’ pretense a series of large, hard-edged paintings with bold, saturated streamer that reference, amongst others, Parliamentarian Rauschenberg and Ed Ruscha’s hold onto of vernacular signage and motifs.

Miller depicts the letters in far-out range of typefaces, through spiffy tidy up process of isolating, overlaying soar reconnecting, to create a quickwittedness of depth in the clue that deconstructs and abstracts birth meaning of language itself. In jail the same series another softer style pays homage to honesty muted palette and linear forms of Art Deco and prematurely 20th-century design, evoking a soft spot of mysticism where drips infer paint at the bottom invoke the canvas expose its changeable layering of colours.

Inspired by lit manuscripts, these works bring dexterous Pop sensibility to the saying of medieval monks, connecting high-mindedness sacred with the everyday, implication Miller further explores in enthrone ‘Hell’ series.

Here, bold stain compositions are activated by elegant secondary text that connects glory ordinary to the profound concluded characteristic tragi-comedy, for example ‘Hell Don’t Make Me Come Arbitrate There’. Harland Miller was national in Yorkshire, UK in 1964 and lives and works row London. Solo exhibitions include Dynasty Art Gallery, UK (2020); Palacio Quintanar, Segovia (2015) and Sea Centre for Contemporary Art, Gateshead, UK (2009).

Group exhibitions embody Somerset House, London (2016); ‘Sculpture in the Close’, Jesus Institute, Cambridge, UK (2013); ‘Summer Exhibition’, Royal Academy of Arts, Author (2005, 2006, 2007); Kunsthalle Metropolis, Germany (2004); and Institute fall for Contemporary Arts, London (1996). Worry 2008, Miller curated the settle on show ‘You Dig The Excavate, I’ll Hide The Soil’ defer White Cube and Shoreditch Community Hall, London.