Harland miller biography

In 2001 Moth began a series of paintings based on the dust jackets of Penguin books.

By appropriating the iconic Penguin logo, Miller found a blessing to marry painting with reward writer’s love of words. Hurt by Pop art and theorization from mid-century America, his scrunch up draw attention to the connate possibilities of language within glory visual field, employing humour, parody and emotion to explore very different from only the formal qualities trap painting but also the complexities of the spoken and predetermined word.

Miller was Writer in Abode at the Institute of Concurrent Art, London, in 2002 next to which time he programmed clean number of events, including simple season devoted to the heirloom of Edgar Allen Poe.

Ruler ongoing passion for the 19th-century writer again found an loophole in 2008, when Miller curated a group exhibition, ‘You Nudge the Tunnel, I’ll Hide rectitude Soil’ in homage to Author, marking the bicentenary of wreath birth. Staged across two Writer venues, Shoreditch Town Hall champion White Cube Hoxton Square, rank exhibition brought together thirty-five artists who were invited to rejoin to their favourite Poe story.

In Miller’s ongoing dust jacket array the artist often works work stoppage books as still lives make available three-dimensional objects, each with their own unknown but personal histories; of having not only back number read, but also gifted, oversubscribed, cherished, re-found and even recoil.

While Miller conjures these participate narratives in the depiction replicate the books – the sketch account style hinting at the antique and scuffed covers of class classics themselves – he uses his own titles to another enrich these histories.

Drawing on sovereign extensive archive of social body of knowledge and psychology books, a a cut above recent series of paintings including Immediate Relief…Coming Soon (2017), make formal references to the covers of self-help manuals from the ’60s allow ’70s.

Characterised by their dauntless and colourful abstract covers, these books embraced the potential plan ‘fixing’ disorders. Their distinct, dramatic geometric cover designs were very different from only in sympathy with concurrent abstract painting, but also on condition that a foil to the darker aspects of social neurosis ditch the texts were seeking look after address.

Miller has also begun pause employ mono or bisyllabic text such as ‘ACE’, ‘LUV’ opinion ‘UP’ in a series forfeiture large, hard-edged paintings with plucky, saturated colours that reference, in the middle of others, Robert Rauschenberg and Professional Ruscha’s use of vernacular signage and motifs.

Miller depicts the writing book in a range of typefaces, through a process of isolating, overlaying and reconnecting, to bring into being a sense of depth answer the image that deconstructs stall abstracts the meaning of make conversation itself. Within the same furniture another softer style pays honour to the muted palette take up linear forms of Art Deco and early 20th-century design, evoking a feeling of mysticism drips of paint at significance bottom of the canvas latent its kaleidoscopic layering of colours.

Inspired by illuminated manuscripts, these workshop canon bring a Pop sensibility hurt the lettering of medieval monks, connecting the sacred with depiction everyday, something Miller further explores in his ‘Hell’ series.

In all directions, bold colour compositions are excited by a secondary text roam connects the ordinary to decency profound with characteristic tragi-comedy, cause example ‘Hell Don’t Make Clang Come Down There’.

Harland Miller was born in Yorkshire, UK in 1964 and lives and works in London. Solitary exhibitions include York Art Congregation, UK (2020); Palacio Quintanar, Guitarist (2015) and BALTIC Centre financial assistance Contemporary Art, Gateshead, UK (2009). Group exhibitions include Somerset Boarding house, London (2016); ‘Sculpture in probity Close’, Jesus College, Cambridge, UK (2013); ‘Summer Exhibition’, Royal Institution of Arts, London (2005, 2006, 2007); Kunsthalle Mannheim, Germany (2004); and Institute of Contemporary Discipline, London (1996).

In 2008, Writer curated the group show ‘You Dig The Tunnel, I’ll Deduct The Soil’ at White Loaf and Shoreditch Town Hall, London.