Brian Everett Miller

Brian Everett MillerStudy for a Portrait, No 134 by Brian Everett Miller

Brian Everett Miller

Brian Everett Miller is a still life photographer and artist who was born in Pittsburgh, Pennsylvania and grew up in Washington, D.C. He did not discover an interest in art until he was nearly thirty, citing his environment as the main cause of his indifference at a young age. His interest was sparked after seeing an art history documentary about twentieth century painting. 

Brian Everett MillerStudy for a Portrait, No 119 by Brian Everett Miller

He began painting but quickly developed an interest in the creative possibilities present in photography and decided on it as a primary means of expression. His study of photography covers the genres of street, still-life, fashion, and portraiture, but his artistic sensibilities also have root in many other things such as music, painting, literature, sculpture and film. As such, his photography is influenced as much by other art-forms as it is by the work of photographers. The artist currently devotes himself exclusively to still life figurative work in studio. His practice explores the possibilities present within the mediums of sculpture and painting when combined and viewed, as a finished work, through the prism of photography.

Brian Everett MillerStudy for a Portrait, No 88d by Brian Everett Miller

In the same way that the use of clay and paint has to be repurposed, the photography must be as well for the work to be successful. The conventional goal of photography is too limiting. For the aim is not to render the object as sculpture, which is by itself of no value, but to filter and transform through this other medium, and so the focus can no longer be about representing most accurately what is seen through the lens, but on securing through more inventive means an image that captures a new reality.

Brian Everett MillerStudy for a Portrait, No 123 by Brian Everett Miller

The outcome is heavily influenced by the unpredictability of this process and the result of chance. He finds that materials and techniques when used to form the portraits in this way fuse together in a uniquely wonderful and fertile way. Every decision on the form of the clay and every mark made in it impacts the final image. It then serves as a three dimensional canvas to hold the paint, and all decisions regarding texture, color and mode of application of the paint combine with and hold their mark as well. The photographic choices and lighting considerations then add their own unique signatures. Each medium effecting the others impact and yet together through the prism of photography they are bound into a distinct two-dimensional work.


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