"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."
Agora Gallery, NYC / ArtMine.com
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."
Agora Gallery, NYC / ArtMine.com
PEACE 2006
experience blu lagoon
ALEATORIC ART- Composition depending upon chance, random
accident, or highly improvisational execution, typically hoping to
attain freedom from the past, from academic formulas, and the
limitations placed on imagination by the conscious mind. There is a
tradition of Japanese and Chinese artists employing aleatoric
methods, many 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. Aleatory 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. Similarly, Tristan Tzara (Rumanian,
1896-1963) created poetry by selecting sentences from
newspapers entirely by chance.
ArtLex Art
Dictionary
accident, or highly improvisational execution, typically hoping to
attain freedom from the past, from academic formulas, and the
limitations placed on imagination by the conscious mind. There is a
tradition of Japanese and Chinese artists employing aleatoric
methods, many 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. Aleatory 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. Similarly, Tristan Tzara (Rumanian,
1896-1963) created poetry by selecting sentences from
newspapers entirely by chance.
ArtLex Art
Dictionary
| copyright 2006 j. coleman miller / in focus inc. All rights reserved |
"Accidents, try to change them -- it's impossible. The accidental reveals man." Pablo Picasso (1881-1973), Spanish artist. Quoted in Vogue (New York, Nov. 1, 1956).
"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
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
"[The artist Wang 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.
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.
CAVE MAN
TRADITIONAL
...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
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
THE FURY 2006
IL BACIO
THE ALEATORIC PHOTOGRAPHIC ABSTRACT PROCESS...
THE ALEATORIC PHOTOGRAPHIC ABSTRACT PROCESS...
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| aleatoric music soundtrack by j coleman miller |
"As a lifelong artist and musician, I have spent most of my existence
creating works of art, searching for that perfect blend of imagination
and medium. This collection represents a culmination of my
experiences with art, photography, interior design, and that creative
being that lurks inside of me.
This latest medium is what I call Aleatoric Photographic Abstracts, a
technique I discovered completely by chance. With the help of a
2500 year old philosophy and state of the art digital equipment, I have
developed one of the concepts of Ch'i into an exciting new art form.
The ever changing nature of water provides me with all of the subject
matter I need to create beautiful art. Almost very piece in my
collection is actually a photograph of moving water. Some of the
images are enhanced or stylized, and some are entirely raw images.
The 200 piece Blu Lagoon collection is the product of countless hours
of work, searching through over a quarter of a million photographs
viewed in every direction, almost a million views... bringing out the
subject matter in a painstaking process. The project took over two
years to complete.
Research the work of Yves Tanguy, Oscar Dominguez, John Cage,
John Weeks, Max Ernst, Alexander Cozens, Duchamp, Jackson
Pollock, the Surrealists, the Dadaist Movement, and the writings of
Mommsen, Strindberg, Richter, and the ancient Chinese Taoist
Philosophers to get a glimpse into the possibilities that exist in the
exciting world of aleatoric art and music.
J. Coleman Miller
| Shadows tease, caress Her form, slowly she melts, Gently onto me. S. David Published both in Haiku Headlines & Voices and Echoes |
| Shadows tease, caress Her form, slowly she melts, Gently onto me. S. David Published both in Haiku Headlines & Voices and Echoes |
| POETRY BY S. DAVID |
HERE COMES THE BRIDE 2008
MINGLE 2008
_____________________________
FROG IS HERE!
FROG IS HERE!