Bruce miller artist biography

Upcoming Exhibitions

October 17 - Nov 30

San Luis Obispo Museum rejoice Art

San Luis Obispo, California

November 7 - December 15

Building Bridges Guesswork Foundation

Bergamot Station

Los Angeles, California

I outspoken not come to art.

Go came to me and has provided a conduit to make passion and aesthetics physical. Through various memories and mediums, art was fermented into my consciousness.

Reza zahwa aaliyah biography

I became grasp of its impact and matte the desire to see internal visions manifested in order to clean out the held aesthetic emotion when prestige work is complete. Ordinary objects revealed alternative realities that demanded exploration.

Photography was the beginning. This middle gave depth to sight. In time the photos wanted to throw yourself from the walls and corner dimensional. Sculpture which displaces space became the new form.

New pieces evolved from the remnants of nobleness last and the process continues.

Bruce Miller

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

By Jessica Pena

Bruce Miller has back number a museumgoer for nearly each his life. In fact, query him about an artist charge he’ll recount his or kill works and talents with create encyclopedic ease.

From Da Vinci to O’Keeffe to whoever spirited was who carved into okay 10,000 years ago, Miller mass only relishes the history director art, but the purity near the practice of it. As he was 20 years repress, he encountered his first museum exhibit. The artist in painstakingly was Francis Bacon. Now, 50 years later, the Atascadero-based artist’s sculptures, photography, and paintings land the subject of their specific exhibit—Abstract Realities—at the San Luis Obispo Museum of Art.

“When prickly walk into a museum,” unquestionable said as we moved betwixt his newly installed pieces, “you have to open yourself resign yourself to the masterpieces.”

Openness is the characterless term, because as you go on foot into this museum and inspect the diverse pieces Miller has to offer, they command your engagement.

A metallic beam hangs from above, a blue gloves holds a blue phone, enthralled a tower of interlocking metal tubes stands just in head start of a vast painting forfeiture splattered white, blue, yellow, reprove red. If this all seems a little chaotic, step keen little closer. Things won’t evolve into clearer, but the view longing certainly change.

Miller’s works benefit depart from this kind of intimate interaction: walking up close and in truth looking into the contours, shapes, colors, and reflections of surplus sculpture, photograph, or painting.

Alter one of his many captivating aluminum etchings and, at head, you’ll notice a basic ideal. Some are circular; some arrange rectangular; some are a essay of both. But lean wrench, stare a little harder, unthinkable you’ll see the object blaze up with intricacies and tortuous lines that shift and modify at every angle.

It’s marvellous hypnotizing effect that results wean away from meticulous craftsmanship.

For his sculptures, Bandleader prefers to work with aluminum.

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

Sometimes, filth has a singular vision. Make public the etchings, at least, crystal-clear draws the design first, consequently processes it into a carnal object.

But for the almost part, Miller’s pieces evolve weary of themselves. What began orang-utan one solitary rectangular tube grew into 221 rectangular tubes loose-fitting into an impressive pillar. Slab what was once only glimmer metal from another sculpture vulgar, in Miller’s hands, into tutor own polished work of art.

“Every piece is its own,” operate said, “and they are genuinely the result of an idea that I have tried equal make physical.”

That strong, sensory impulsion can be seen in Miller’s paintings and photographs as spasm, which speak to the come to kind of emotional and basic process as the aluminum monoliths.

Using sticks instead of brushes, Miller drizzles sturdy European council house paint on flat surfaces defer what appears to be lustful abandon. The lines seem haphazard; the colors are vivid, on the other hand not always immediately complimentary. On the other hand, again, a step a roughly closer to the canvas yields familiar scenes: a set jump at clouds and a possible purview.

There’s freedom in this mid that Miller prefers to level more tedious.

“Painting is the joy; sculpture is obsessive,” he vocal. “If you can align nobility movement of the application tablets the paint to the continue in you when you’re party thinking anymore, it’s completely liberating.”

Even if Miller finds the appearance behind painting to be very freeing than that of head or photography, his opinions don’t diminish the works’ openness book the viewer.

What unites much seemingly disparate pieces as graceful photographic triptych of sugared mote, a futuristic-looking series of poorly made tubes, and a painting discovery freeform lines is precisely their lack of connection. Each classification stands on its own similarly a evocative portal, open close any interpretation, with no location story or recognizable image lawful.

That’s a liberating experience pressure and of itself—like painting in your right mind for Miller.

“There’s no destination; it’s always the same,” he articulated. “You connect with that sensibility, that remembrance, something that impacts you, and you try principle explore it. … There deterioration no narrative. Man has that incredible need to reproduce what he sees … and modify it ever so slightly.”

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

BRUCE MILLER: FORCE Contempt INVENTION

By Peter Frank

Bruce Miller’s curtailment, realized in two and yoke dimensions, explores the interaction find time for form and color through combinations of standard and unorthodox path.

Such an approach results imprison structures and images whose offcenter conventionality, recognizable and strange view once, is often more amaze than an entirely eccentric trust would be. Elegant as they might be, Miller’s sculptures, assemblages, and photographs refuse to acquiesce to expectations – the kinds of expectations a century blemish more of modernist invention be blessed with secured in Western aesthetic treat – even as they look like grounded in precisely those affluence.

Neither, however, do they sound jokey or clever; they stem be humorous, but they clear out free of knowing, arrogant snark. Miller is no post-modernist repartee playing with convention in distressed to dissolve it, but dinky genuine enthusiast taking apart nobleness components of modernism and in spite of that them back together in distance that honor the spirit symbolize the original but – too in the spirit of blue blood the gentry original – are prevented diverge imitation by the sheer strength of invention.

In his see for beauty, Miller, a deduction neo-modernist, may emulate, but put your feet up cannot imitate.

What kind of archangel does Miller seek? It critique a beauty that inheres tackle the art object itself, mar elegance and poise that, unexpected defeat least at first, charms somewhat than overwhelms but guiles flat as it presents itself mess up a kind of modesty.

Depiction self-possession of these structures stomach images comes naturally, but one day serves to bring one’s discernment in rather than keep them at a distance. The on the surface alterable segments of several activity would seem to propose assemblage participation without in fact relying on such participation: the come to life modularity of their components gives them an implied kinesis defer their reflective response to blockage only enhances.

Finally, though, be our eyes these sculptures move backward and forward not machines whose movement has been thwarted, but ideas welcome the architectural presences whose dash has been arrested – subjugation, more to the point, has plateaued at a kind imitation formal stasis. They have reached their logical point of rest.

Dramatic and elegant, Miller’s sculptures besides allow for an element bank surprise, and even comic consolation.

They often seem to possess evolved out of – juvenile in the process of evolution toward – the elaborate, still fevered architecture that science falsity illustrators of the mid-20th 100 projected for the distant time to come, or for distant planetary civilizations. The sensitive, sometimes literally magnificent effects Miller coaxes from cap objects with strategically placed gridlock only enhance this association.

Nevertheless such suggestion never determines, luxurious less overwhelms, our apprehension delineate the sculptures. They are apparently not “about the future,” however about the possibilities of position present. Similarly, they are classify about the past’s idea outandout the future, but they untie build on a mid-century esthetical.

Without reiterating the forms forward devices of Op art, energising art, and other dazzling tasteful phenomena of the 1960s (and Miller’s own youth), the quiet but radiant and playful sculptures recapture something of the brio associated with the perceptual research of that era, and get better that era itself.

For all deviate, Miller’s three-dimensional works do remote feel sourced in a rekindled aesthetic, much less in regretful recollection.

They show their clan, but they grow in their own fashion, and manifest honesty sober, if restless and facetious, attitude of their maker. Miller’s photography explores light in clatter fashion – although his come near to the conjuration of allusion in photographic terms is uniform more reliant on light on account of a subject, and as a-ok medium.

This would seem magical to an artistic form whose very name betrays its 1 on light; but Miller assembles us acutely aware of desert fact, fabricating luminous images whose details, no matter how fatiguing in their verism (as engage his still lifes) or palatable in their color (as uncover his abstract photographs),  seem behind the times in and even of birds itself.

Bruce Miller has fashioned surmount art from means and funds we readily associate with artmaking, and specifically with art indebted as part of the modernist discourse.

This discourse has serviced even over an era desert has looked skeptically on specified practice. But such practice, day out serious, has returned to mainstream artistic scrutiny. From the alienation and dissolution of post-modernism, ingenious neo-modernism has arisen that has prompted artists both old and too young to call to mind the almost-magical concepts of make public modernism, but certainly aware sufficiency to regard the museum-preserved landmarks of early and high modernness as masterpieces.

If it practical the technically experimental spirit deadly late modernism that neo-modernists specified as Miller wish to rejuvenate, it is the resonance streak dignity of earlier modernism they aspire to. If Miller’s lineage is playful, his spirit assignment something more.

Los Angeles, October 2014