Since the beginning of his artistic engagement, Miller has pursued an unmistakable, striking concept in order to bid farewell to the classically established image in his wall objects oscillating between painting and sculpture without questioning it as such. His conceptually distinct groups of works combine a characteristic that has become a trademark of the artist: they enclose an empty space as a compositional center, are empty centrally or in a prominently placed optical center.
In the exhibition Reset, Gerold Miller now presents his latest series of works Set, a series of radically new wall works that represent a consistent further development of his previous work. Set. shows itself in a minimalistically reduced composition principle, for the first time doing without the central material recess in favour of a flat steel surface. Nevertheless, a kind of emptiness has remained: The overlapping, monochrome colour fields visually create the illusion of cast shadows and deepening or rising surfaces. Where previously a window in a central location opened the view to the wall and created the connection to the third dimension, the painting, anchored in the two-dimensionality, now suggests spatiality. Through the interplay of all colour compositional solutions, the formally reduced surfaces bear
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Since the beginning of his artistic engagement, Miller has pursued an unmistakable, striking concept in order to bid farewell to the classically established image in his wall objects oscillating between painting and sculpture without questioning it as such. His conceptually distinct groups of works combine a characteristic that has become a trademark of the artist: they enclose an empty space as a compositional center, are empty centrally or in a prominently placed optical center.
In the exhibition Reset, Gerold Miller now presents his latest series of works Set, a series of radically new wall works that represent a consistent further development of his previous work. Set. shows itself in a minimalistically reduced composition principle, for the first time doing without the central material recess in favour of a flat steel surface.
Nevertheless, a kind of emptiness has remained:
The overlapping, monochrome colour fields visually create the illusion of cast shadows and deepening or rising surfaces. Where previously a window in a central location opened the view to the wall and created the connection to the third dimension, the painting, anchored in the two-dimensionality, now suggests spatiality.
Through the interplay of all colour compositional solutions, the formally reduced surfaces bear witness to a strong presence. As a chromatic unit and at the same time interacting with each other, they reveal visual mechanisms of urban reality and aestheticize our visual culture as a display-like representation, which is oriented towards fast, simplified perception.
Gerold Miller (*1961 in Althausen) lives and works in Berlin. His work is represented worldwide in important collections such as the Daimler Art Collection, the Kunstmuseum Stuttgart, the Louisiana Museum of Art in Humblebaek, and the Weishaupt Collection in Ulm. In April 2012, the first catalogue Raisonné, covering his entire oeuvre, was published by Distanz Verlag.
Judith Ribbentrop
