Today we’d like to introduce you to Joseph A. Miller

Hi Joseph A. Miller, thanks for joining us today. We’d love for you to start by introducing yourself.

I remember as a child looking at the edge of the page of my copy of Where the Wild Things Are by Maurice Sendak. I was mesmerized by how much illusion and meaning was squeezed onto that thin sheet of paper. For me, this was a magic trick that I wanted to learn how to do!

I was born in Easton, Pennsylvania in 1968 and I grew up in Mt. Bethel, PA where I lived along the Delaware River. I later went to college at Kutztown University. So, my formative years were spent living inside of what looked like an Andrew Wyeth painting; rural and pastoral scenes occasionally interrupted by reminders of civilization; water and radio towers, distant lights glowing off in the distance, muddy fields and meadows of brambles and wildflowers. My art was influenced by this kind of landscape.

In the kitchen of my grandparents’ Pennsylvania farmhouse was a framed print of Andrew Wyeth’s egg tempera painting, Groundhog Day. While no figures are depicted in that painting, their nearby presence is implied by the cup, saucer, plate, and knife, which are so curiously presented, bathed in ambient light on the kitchen table. That image made a big impression on me because of its beautiful depiction of, and emphasis on, the effects of light. This interest was later joined by color when I discovered the Pre-Raphaelite painters in the library stacks at Kutztown University, where I went to undergraduate school. The Pre-Raphaelites painted very detailed, colorful, symbolic, narrative paintings of figures in the English countryside during the 19th century. Between the austere formalism of Wyeth and the luminous narratives of the Pre Raphaelite painters; my artistic inclinations were forming.

After graduating from Southern Illinois University at Carbondale in 1993 with my MFA in painting and drawing, I worked for 3 years at the Philadelphia Museum of Art in both the security and Art Conservation departments. I considered my time there both an employment and educational opportunity because of the access I had to so much great art which I sketched in a small sketchbook. During this time, I was applying to many colleges and universities around the country. I knew that I wanted to do what my college art professors did; share what I love with others and continue with what I love; painting and drawing. I was offered the teaching position at SUNY Buffalo State in 1997 which is where I have been enjoying teaching ever since.

Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?

As with any long trip, there are some smooth, some rough patches. I think the most important thing is to stay in motion. So, regarding art making; if your “life road” becomes bumpy and all you can do artistically is draw in a small sketch book, then do that. Later when the road gets smoother and you can handle more ambitious projects, embrace those. Try, as best you can, to regularly make your art, regardless of the inevitable bumps in the road of life.

Thanks – so what else should our readers know about your work and what you’re currently focused on?

I focus primarily on the human figure depicted in environments that create a context for psychologically charged open ended narratives. Many of these narratives explore ideas about power and vulnerability, about enchantment and play. Children are often featured because children often play.

Quality of light is a common theme. In particular, the way in which atmospheric light and locale can suggest a sense of mystery and silence. These works are dark, humid and hopefully, at their best, memorable. For me, the most successful are those that evoke the feeling that an event is about to happen or has recently happened.

Images of figures or figures in landscapes, in groups or in isolation, share a common feeling of significance. Wholly absorbed within themselves or the dialogue shared between one another, they wait for the unfolding of their private story.

In terms of your work and the industry, what are some of the changes you are expecting to see over the next five to ten years?

I see artists exploring and navigating a new technological world where Artificial Intelligence is increasingly experimented with. I think, as it is used now, AI produces noticeably generic looking images. But perhaps that will change; time will tell.

Pricing:

• NA

Contact Info:

• Website: https://artdesign.buffalostate.edu/directory/joseph-miller
• Other: https://www.flickr.com/photos/134913715@N03/albums/72157713915296916/

Image Credits

Joe painting Janey
by Christine Carr Miller, Artist’s wife