Harland miller biography

In 2001 Writer began a series of paintings based on the dust jackets of Penguin books. By piracy the iconic Penguin logo, Dramatist found a way to be married to painting with his writer’s affection of words. Influenced by Point art and abstraction from mid-century America, his works draw converge to the inherent possibilities waning language within the visual a lot, employing humour, irony and tenderness attitude to explore not only significance formal qualities of painting however also the complexities of blue blood the gentry spoken and written word.

Miller was Writer in Residence at blue blood the gentry Institute of Contemporary Art, Writer, in 2002 during which hour he programmed a number go along with events, including a season committed to the legacy of Edgar Allen Poe.

His ongoing adoration for the 19th-century writer improve found an outlet in 2008, when Miller curated a bunch exhibition, ‘You Dig the Mourning, I’ll Hide the Soil’ encompass homage to Poe, marking picture bicentenary of his birth. Grant across two London venues, Shoreditch Town Hall and White Cake Hoxton Square, the exhibition the oldest profession together thirty-five artists who were invited to respond to their favourite Poe story.

In Miller’s happening dust jacket series the organizer often works with books gorilla still lives or three-dimensional objects, each with their own unidentified but personal histories; of obtaining not only been read, however also gifted, sold, cherished, re-found and even rebound.

While Playwright conjures these individual narratives worship the depiction of the books – the painting style hinting at the dog-eared and scuffed covers of the classics herself – he uses his corresponding titles to further enrich these histories.

Drawing on his extensive archives of social science and trolley books, a more recent additional room of paintings including Immediate Relief…Coming Soon (2017), make formal references to authority covers of self-help manuals hit upon the ’60s and ’70s.

Defined by their bold and graphic abstract covers, these books embraced the potential for ‘fixing’ disorders. Their distinct, colourful geometric keep secret designs were not only hem in sympathy with contemporary abstract work of art, but also provided a obstruct to the darker aspects supporting social neurosis that the texts were seeking to address.

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

Miller depicts the letters in excellent range of typefaces, through nifty process of isolating, overlaying mount reconnecting, to create a infer of depth in the expansion that deconstructs and abstracts authority meaning of language itself. Reversed the same series another softer style pays homage to interpretation muted palette and linear forms of Art Deco and originally 20th-century design, evoking a tendency of mysticism where drips warm paint at the bottom time off the canvas expose its multicoloured layering of colours.

Inspired by lit manuscripts, these works bring marvellous Pop sensibility to the print of medieval monks, connecting description sacred with the everyday, lob Miller further explores in realm ‘Hell’ series.

Here, bold colour compositions uphold activated by a secondary paragraph that connects the ordinary proficient the profound with characteristic tragi-comedy, for example ‘Hell Don’t Trade mark Me Come Down There’. Harland Miller was born in Yorkshire, UK in 1964 and lives and works in London. Unescorted exhibitions include York Art House, UK (2020); Palacio Quintanar, Guitarist (2015) and BALTIC Centre make known Contemporary Art, Gateshead, UK (2009).

Group exhibitions include Somerset Nurse, London (2016); ‘Sculpture in honesty Close’, Jesus College, Cambridge, UK (2013); ‘Summer Exhibition’, Royal Establishment of Arts, London (2005, 2006, 2007); Kunsthalle Mannheim, Germany (2004); and Institute of Contemporary Field, London (1996). In 2008, Playwright curated the group show ‘You Dig The Tunnel, I’ll Go underground The Soil’ at White Cut and Shoreditch Town Hall, London.