"Look at walls spotted with various stains or with a mixture of
different kinds of stones. If you are about to invent some
scenes,.you will be able to see in it a resemblance to various
different landscapes adorned with mountains, rivers, rocks,
trees, plains, with valleys and various groups of hills."
Leonardo da Vinci
different kinds of stones. If you are about to invent some
scenes,.you will be able to see in it a resemblance to various
different landscapes adorned with mountains, rivers, rocks,
trees, plains, with valleys and various groups of hills."
Leonardo da Vinci
"[The artist Wong Mo] excelled in splattering ink to paint landscapes. . .
There was a good deal of wildness in him, and he loved wine.
Whenever he wished to paint a hanging scroll, he would first drink,
then after he was drunk he would splatter ink. Laughing or singing, he
would kick at it with his feet or rub it with his hands. . . . According to
the forms and appearances, he would make mountains and rocks,
clouds and water."
Anonymous Chinese writer
in a ninth century treatise on painting.
There was a good deal of wildness in him, and he loved wine.
Whenever he wished to paint a hanging scroll, he would first drink,
then after he was drunk he would splatter ink. Laughing or singing, he
would kick at it with his feet or rub it with his hands. . . . According to
the forms and appearances, he would make mountains and rocks,
clouds and water."
Anonymous Chinese writer
in a ninth century treatise on painting.
| ...submerged figurative imagery lurks within the ostensibly abstract giclee prints of J. Coleman Miller, providing a surprise bonus for those who scrutinize them carefully. In Miller's "The Fury", for example, one who is initially entranced solely by the liquiscent fluidity of the forms may suddenly discover stylized heads of racing horses amid fiery golden hues." Gallery & Studio Magazine May 2008 |
| ...submerged figurative imagery lurks within the ostensibly abstract giclee prints of J. Coleman Miller, providing a surprise bonus for those who scrutinize them carefully. In Miller's "The Fury", for example, one who is initially entranced solely by the liquiscent fluidity of the forms may suddenly discover stylized heads of racing horses amid fiery golden hues." |
| "J. Coleman Miller's giclée prints occupy an ambiguous space between photographic abstraction and highly stylized representation. Certain small components remain so close to recognizable images that they stretch and tease our desire for closure to its breaking point. Miller uses his titles to extenuate this uncertainty: they prescribe a specific reading to each image, a reading that is simultaneously made impossible by the photographs' levels of abstractions. Miller thereby creates a spirit of free play in which the images are liberated from the confines of linear interpretation, inviting viewers to take part in the production of meaning. Giving into the abstract aspects of the photographs, their strong colors and dynamic distortions convey energy and sensation. Instead of representing a specific place, action or object, they evoke sudden outbursts of emotion, moments of fleeting intensity. This expressive component of Miller's work, however, is never completely stable Rather than suggesting a final emotional equation, his works lead the viewer into a continuous game of re-imagining." ArtMine |
Aleatoric Art- Composition depending upon chance, random accident, or highly improvisational execution, typically hoping to attain freedom from the past, from the academic
formulas, and the limitations placed on imagination by the conscious mind. There is a tradition of Japanese and Chinese artists employing aleatoric methods, with many being
influenced by Taoism and Zen Buddhism. In the west, precedents can be found among artists of ancient Greece, and later among artists of the Italian Renaissance. Leonardo
da Vinci (Italian, 1452-1519) recommended looking at blotches on walls as a means of initiating artistic ideas. Chance in art was also employed by numerous twentieth century
avant-garde artists. Followers of the Dada and Surrealism produced numerous examples. Jean Arp (French, 1887-1966) made collages by dropping small pieces of paper onto
a larger piece, then adhering them where they landed. André Masson (French, 1896-1987), and Joan Miró (Spanish, 1893-1983) allowed their pens to wander over sheets of
paper in the belief that they would discover in those doodles the ghosts of their repressed imaginations.
formulas, and the limitations placed on imagination by the conscious mind. There is a tradition of Japanese and Chinese artists employing aleatoric methods, with many being
influenced by Taoism and Zen Buddhism. In the west, precedents can be found among artists of ancient Greece, and later among artists of the Italian Renaissance. Leonardo
da Vinci (Italian, 1452-1519) recommended looking at blotches on walls as a means of initiating artistic ideas. Chance in art was also employed by numerous twentieth century
avant-garde artists. Followers of the Dada and Surrealism produced numerous examples. Jean Arp (French, 1887-1966) made collages by dropping small pieces of paper onto
a larger piece, then adhering them where they landed. André Masson (French, 1896-1987), and Joan Miró (Spanish, 1893-1983) allowed their pens to wander over sheets of
paper in the belief that they would discover in those doodles the ghosts of their repressed imaginations.
| "J. Coleman Miller's giclée prints occupy an ambiguous space between photographic abstraction and highly stylized representation. Certain small components remain so close to recognizable images that they stretch and tease our desire for closure to its breaking point. Miller uses his titles to extenuate this uncertainty: they prescribe a specific reading to each image, a reading that is simultaneously made impossible by the photographs' levels of abstractions. Miller thereby creates a spirit of free play in which the images are liberated from the confines of linear interpretation, inviting viewers to take part in the production of meaning. Giving into the abstract aspects of the photographs, their strong colors and dynamic distortions convey energy and sensation. Instead of representing a specific place, action or object, they evoke sudden outbursts of emotion, moments of fleeting intensity. This expressive component of Miller's work, however, is never completely stable Rather than suggesting a final emotional equation, his works lead the viewer into a continuous game of re-imagining." |
| A funny thing happened on the way to aleatoria... Somewhere between representation and abstraction, J. Coleman Miller finds a unique brand of surrealist expressionism. Eerie aqueous faces full of angst and passion hidden within diaphanous veils of liquid flesh. Tortured spirits fully embroiled in gaseous infernos. Nebulous glacial prehistoria, infected with fractal reflections and vitreous pathogens. Sultry vaporous nymphs smoldering in the molten pools of aleatoric magma from which the earliest signs of art emerged. The mysterious images, composed with nothing but a digital camera and moving water, evoke wonder and delight without allowing us to fall victim to our usual inner censor who squelches the child in us and casts judgement based on what is known. Miller's art invites us to see what we don’t yet believe exists. Ray Cabarga |
| AleatoricArt.com is a online magazine and gallery for artists who have learned to leave some things to chance. By using the same automatic methods in composition that have been used since ancient times in China and Japan, these new artists are the hands of nature, creating the most beautiful and thought provoking images of our day. Take a few moments to browse by clicking HERE |
J Coleman Miller is represented by
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j. coleman miller
| A funny thing happened on the way to aleatoria... Somewhere between representation and abstraction, J. Coleman Miller finds a unique brand of surrealist expressionism. Eerie aqueous faces full of angst and passion hidden within diaphanous veils of liquid flesh. Tortured spirits fully embroiled in gaseous infernos. Nebulous glacial prehistoria, infected with fractal reflections and vitreous pathogens. Sultry vaporous nymphs smoldering in the molten pools of aleatoric magma from which the earliest signs of art emerged. The mysterious images, composed with nothing but a digital camera and moving water, evoke wonder and delight without allowing us to fall victim to our usual inner censor who squelches the child in us and casts judgement based on what is known. Miller's art invites us to see what we don’t yet believe exists. |
"Look at walls spotted with various stains or with a mixture of
different kinds of stones. If you are about to invent some
scenes,.you will be able to see in it a resemblance to various
different landscapes adorned with mountains, rivers, rocks,
trees, plains, with valleys and various groups of hills."
different kinds of stones. If you are about to invent some
scenes,.you will be able to see in it a resemblance to various
different landscapes adorned with mountains, rivers, rocks,
trees, plains, with valleys and various groups of hills."
| Aluminum backs and frames. |
"[The artist Wong Mo] excelled in splattering ink to paint landscapes. . .
There was a good deal of wildness in him, and he loved wine.
Whenever he wished to paint a hanging scroll, he would first drink,
then after he was drunk he would splatter ink. Laughing or singing, he
would kick at it with his feet or rub it with his hands. . . . According to
the forms and appearances, he would make mountains and rocks,
clouds and water."
Anonymous Chinese writer
in a ninth century treatise on painting.
There was a good deal of wildness in him, and he loved wine.
Whenever he wished to paint a hanging scroll, he would first drink,
then after he was drunk he would splatter ink. Laughing or singing, he
would kick at it with his feet or rub it with his hands. . . . According to
the forms and appearances, he would make mountains and rocks,
clouds and water."
Anonymous Chinese writer
in a ninth century treatise on painting.
___________________________________________________________________________________________________________________________________________________________
Aleatoric Art- Composition depending upon chance, random accident, or highly improvisational execution, typically hoping to attain freedom from the past, from the academic
formulas, and the limitations placed on imagination by the conscious mind. There is a tradition of Japanese and Chinese artists employing aleatoric methods, with many being
influenced by Taoism and Zen Buddhism. In the west, precedents can be found among artists of ancient Greece, and later among artists of the Italian Renaissance. Leonardo
da Vinci (Italian, 1452-1519) recommended looking at blotches on walls as a means of initiating artistic ideas. Chance in art was also employed by numerous twentieth century
avant-garde artists. Followers of the Dada and Surrealism produced numerous examples. Jean Arp (French, 1887-1966) made collages by dropping small pieces of paper onto
a larger piece, then adhering them where they landed. André Masson (French, 1896-1987), and Joan Miró (Spanish, 1893-1983) allowed their pens to wander over sheets of
paper in the belief that they would discover in those doodles the ghosts of their repressed imaginations.
formulas, and the limitations placed on imagination by the conscious mind. There is a tradition of Japanese and Chinese artists employing aleatoric methods, with many being
influenced by Taoism and Zen Buddhism. In the west, precedents can be found among artists of ancient Greece, and later among artists of the Italian Renaissance. Leonardo
da Vinci (Italian, 1452-1519) recommended looking at blotches on walls as a means of initiating artistic ideas. Chance in art was also employed by numerous twentieth century
avant-garde artists. Followers of the Dada and Surrealism produced numerous examples. Jean Arp (French, 1887-1966) made collages by dropping small pieces of paper onto
a larger piece, then adhering them where they landed. André Masson (French, 1896-1987), and Joan Miró (Spanish, 1893-1983) allowed their pens to wander over sheets of
paper in the belief that they would discover in those doodles the ghosts of their repressed imaginations.