The ever changing elements of nature provide me with all of
the subject matter I need to create beautiful art. All of the
images you see here are actually photographs of moving
water...
The ever changing elements of nature provide me with all of
the subject matter I need to create beautiful art. All of the
images you see here are actually photographs of moving
water...
| 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. ArtLex Art Dictionary |
"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
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 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.
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.
| ...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 |
READ THE ARTIST'S STATEMENT...
 | |  | |  | |  | |  | |  | |  |
CONTACT J. COLEMAN MILLER
"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."
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."
"[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."
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."
CONTACT J. COLEMAN MILLER
| ...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 |
| "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 |
| ENTER WWW.SIENNABLU.COM |
| 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 among our aleatoric masters, and learn about their influences and techniques by clicking HERE |
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SPAM, AND IT'S SAFE AND
SECURE...
TRY IT!
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| JCOLEMANMILLER.COM IS PART OF IN FOCUS PHOTOGRAPHY INC OF HOUSTON, TEXAS (281) 373-0664 WRITE TO US AT INFOCUSPHOTOGRAPHYSTUDIO@YAHOO.COM |
| The Marlin Volborth/Miller 2009 |
Visit V/M HERE... an exciting new body of work that represents a collaboration by two
featured artists from AleatoricArt.com, Prof. Alex Volborth and J. Coleman Miller.
Simply titled Volborth/Miller, the idea is complex... The Professor, a world renowned
geologist and lecturer, seems to have every relevant piece of art from the last 2400
years burned onto his retinas. When he is in the field pursuing his love of photography,
he is somehow guided to geological formations that bear eerie resemblances to these
famous works. Miller, another chance based artist has become addicted to Alex's work
and has compiled his own stylized representations of many of the professor's prints. A
convoluted approach to aleatoric composition, but with compelling results, and the
sincerest form of flattery from every angle.
featured artists from AleatoricArt.com, Prof. Alex Volborth and J. Coleman Miller.
Simply titled Volborth/Miller, the idea is complex... The Professor, a world renowned
geologist and lecturer, seems to have every relevant piece of art from the last 2400
years burned onto his retinas. When he is in the field pursuing his love of photography,
he is somehow guided to geological formations that bear eerie resemblances to these
famous works. Miller, another chance based artist has become addicted to Alex's work
and has compiled his own stylized representations of many of the professor's prints. A
convoluted approach to aleatoric composition, but with compelling results, and the
sincerest form of flattery from every angle.
WHAT'S NEW?
WHAT'S NEW?
A funny thing happened on the way to aleatoria
Somewhere between representation and abstraction,
J. Coleman Miller finds a new kind of surrealist
expressionism. Eerie aqueous faces of angst and
passion hidden within diaphanous veils of liquid flesh.
Floral fluids teeming with twisted crickets. Tortured
spirits 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 of
J Coleman Miller 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.
R. Cabarga/AleatoricArt
Somewhere between representation and abstraction,
J. Coleman Miller finds a new kind of surrealist
expressionism. Eerie aqueous faces of angst and
passion hidden within diaphanous veils of liquid flesh.
Floral fluids teeming with twisted crickets. Tortured
spirits 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 of
J Coleman Miller 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.
R. Cabarga/AleatoricArt
A funny thing happened on the way to aleatoria
Somewhere between representation and abstraction,
J. Coleman Miller finds a new kind of surrealist
expressionism. Eerie aqueous faces of angst and
passion hidden within diaphanous veils of liquid flesh.
Floral fluids teeming with twisted crickets. Tortured
spirits 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 of
J Coleman Miller 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.
Somewhere between representation and abstraction,
J. Coleman Miller finds a new kind of surrealist
expressionism. Eerie aqueous faces of angst and
passion hidden within diaphanous veils of liquid flesh.
Floral fluids teeming with twisted crickets. Tortured
spirits 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 of
J Coleman Miller 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.
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
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
| "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 |
| 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. ArtLex Art Dictionary |