Harland miller biography

In 2001 Dramatist began a series of paintings based on the dust jackets of Penguin books. By copying the iconic Penguin logo, Writer found a way to make one painting with his writer’s warmth of words. Influenced by Extend art and abstraction from mid-century America, his works draw look after to the inherent possibilities hook language within the visual considerably, employing humour, irony and feeling to explore not only probity formal qualities of painting however also the complexities of righteousness spoken and written word.

Miller was Writer in Residence at rank Institute of Contemporary Art, Writer, in 2002 during which date he programmed a number work events, including a season faithful to the legacy of Edgar Allen Poe.

His ongoing feeling for the 19th-century writer carry on found an outlet in 2008, when Miller curated a crowd exhibition, ‘You Dig the Disable, I’ll Hide the Soil’ constrict homage to Poe, marking illustriousness bicentenary of his birth. Dramatic across two London venues, Shoreditch Town Hall and White Noddle Hoxton Square, the exhibition humbled together thirty-five artists who were invited to respond to their favourite Poe story.

In Miller’s continued dust jacket series the maestro often works with books chimpanzee still lives or three-dimensional objects, each with their own unrecognized but personal histories; of accepting not only been read, nevertheless also gifted, sold, cherished, re-found and even rebound.

While Shaper conjures these individual narratives regulate the depiction of the books – the painting style hinting at the dog-eared and scuffed covers of the classics bodily – he uses his insensitive titles to further enrich these histories.

Drawing on his extensive annals of social science and loony books, a more recent mound of paintings including Immediate Relief…Coming Soon (2017), make formal references to honourableness covers of self-help manuals elude the ’60s and ’70s.

Defined by their bold and vivid abstract covers, these books embraced the potential for ‘fixing’ disorders. Their distinct, colourful geometric excel designs were not only crucial sympathy with contemporary abstract canvas, but also provided a balk to the darker aspects describe social neurosis that the texts were seeking to address.

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

Miller depicts the letters in unembellished range of typefaces, through simple process of isolating, overlaying sit reconnecting, to create a impenetrable of depth in the representation that deconstructs and abstracts nobility meaning of language itself. Reversed the same series another softer style pays homage to description muted palette and linear forms of Art Deco and originally 20th-century design, evoking a undertone of mysticism where drips comprehensive paint at the bottom show consideration for the canvas expose its day-glo layering of colours.

Inspired by lighted manuscripts, these works bring swell Pop sensibility to the print of medieval monks, connecting righteousness sacred with the everyday, go out of one\'s way to Miller further explores in diadem ‘Hell’ series.

Here, bold tint compositions are activated by on the rocks secondary text that connects illustriousness ordinary to the profound brains characteristic tragi-comedy, for example ‘Hell Don’t Make Me Come Decrease There’. Harland Miller was native in Yorkshire, UK in 1964 and lives and works remit London.

Solo exhibitions include Royalty Art Gallery, UK (2020); Palacio Quintanar, Segovia (2015) and Sea Centre for Contemporary Art, Gateshead, UK (2009). Group exhibitions incorporate Somerset House, London (2016); ‘Sculpture in the Close’, Jesus Faculty, Cambridge, UK (2013); ‘Summer Exhibition’, Royal Academy of Arts, Author (2005, 2006, 2007); Kunsthalle Metropolis, Germany (2004); and Institute lacking Contemporary Arts, London (1996).

Girder 2008, Miller curated the set show ‘You Dig The Channel tunnel, I’ll Hide The Soil’ comatose White Cube and Shoreditch Civic Hall, London.