Jessica Miller
Jessica Miller is a multi-disciplinary artist originally from North Yorkshire, UK, currently based in Glasgow, UK.
Jess Miller is one of ArtConnect’s Artists to Watch '22
Working in the mediums of contemporary oil painting and ceramic sculpture, as well as drawing and photography, Miller’s practice is driven by the aim to communicate the female-identifying experience. Exploring the effects of societal pressures on women and navigation of the self as informed by both historical and current feminist theory, her works reflect the dynamic between society and self. Miller’s work is meant to be an exploration of the self, exploring the nuances of public self-presentation set against private thought, moments of intimacy and the image behind the outward persona.
To encapsulate Miller’s work would be to describe it as figurative surrealism. Fusing observation, imagination, and memory, her scenes depict female forms in domestic settings, stylistically ranging from figurative to expressive.
Miller’s practice focuses on contemporary oils, using one main, bold colour for the environment surrounding the, often solitary figure, and then capturing the finer details, the stains, ash from a cigarette, or the label on the wine bottle. Each work takes around six to eight months depending on the size.
Her figures are part aspirational self-portrait, part depiction of the female-identifying persons she finds to be the most beautiful. The figures are also supposed to be anyone - anyone who has caught their reflection at 3am in a moment of solitude and wondered who on earth they are looking at.
“With unmasked expression, the female figures in Miller’s surrealist paintings are clearly not depicted to satisfy the male gaze. Instead, they engage in acts of defiance, pleasure and indifference, while details such as a motionless broom and smudge-stained wall underline a rejection of the traditional gender roles associated with the domestic realm.”
Ollie Dougherty
Curator
ArtConnect asked the winning artists to share with us a glimpse into their creative life to get a sense of their personal inspiration and artistic process.
How would you describe your artistic style and what inspires your work?
My practice is driven by the aim to communicate the female-identifying experience. Exploring the effects of societal pressures on women and navigation of the self as informed by both historical and current feminist theory, pieces reflect on the dynamic between society and self. I'm inspired by the investigation of the self, exploring the nuances of public self-presentation set against private thought, moments of intimacy and the image behind the outward persona. Alongside this is taking inspiration from my surroundings, my time living in Australia and currently, Scotland.
How has your work evolved over time?
I've always been a predominantly creative person from a very young age. Drawing, painting, ceramics, and performance were starting points. As the years went by, I developed an interest in new mediums, such as graphic design and I was prompted to consider photography in college. I studied photography and worked in the area for many years, always maintaining a creative practice in painting, sculpture, and drawing as a hobby.
Several years ago, I felt the need to slow down and develop with more consideration and ceramic sculpture and oil painting permit me to engage with my work on a very honest level. I'm able to tie my work in with my interest in sociology, feminist theory and traditional technique whilst contemplating modern-day issues and personal experience. I'm sure there's still a long way to go.
What message or emotion do you hope to convey through your art?
I hope to convey relatability through the uncanny, and insinuate the importance of questioning identity and sexuality.
Can you talk about a specific piece or series that holds a special significance to you?
One of my recent pieces, "An Outstanding Way To Live" (2022), holds a special significance as it's a transitional piece for me. Previous work to this had been created by referencing parts of my past, and moments of flux that had affected me negatively. This new piece came from a place of self-recognition and development, a confidence in myself and my identity and the choices I had been making. The colours I used are brighter, and the mood delivered is warmer. I pushed my abilities while working and I feel as though you can see the development in my skills when comparing this piece to one from only the year before. So, it's significant because it represents being a braver woman, comfortable in their decisions whilst aware of the hard work yet to come and how we can and will still so easily make smaller errors along the way.
This work sits alongside the sister piece "An Outstanding Way To Die" (2022). A figure sits exhausted, engaged in a mind-numbing vice to delay the decision-making process of how to react to the outside when the inside needs work. Both pieces are about the same woman, with different narratives. somewhere between them, a period of growth happened.
“Miller’s work is meant to be an exploration of the self, exploring the nuances of public self-presentation set against private thought, moments of intimacy and the image behind the outward persona.”
What is your process for creating a new piece of art?
The beginning of turning a sketch into a piece can be pretty physical as I prefer to work with larger scales and the underpainting will take some maneuvering, this will last for a week or so before I begin to finalise a composition. Usually, it will evolve far beyond the sketch with new details added as I go, as I consider which gaps should be filled and what negative space is a necessity. Eventually, I will decide that was the final brush stroke, usually because I'm terrified I'll ruin it if I go any further.
How do you balance your artistic career with the business aspect of being an artist?
The business side of being an artist was especially important when working as a freelance and contract photographer so I was lucky enough to have a good understanding of treating your work like a business early on. I balance it by committing certain days to admin, to research and apply for opportunities weekly. Alongside this, I have days that are dedicated to making each week. Its a constant to and fro that should be harmonious. I always allow time for socialising and relaxing in between. Burnout is easy done.
How do you see your work fitting within the larger context of contemporary art?
My work responds to the present and focuses on broad contextual frameworks. The themes I discuss touch on sexuality, gender, identity, domestic spaces, trauma and consumerism. I deliver this in the form of figurative, surrealist oil paintings that hit with blocks of colour and hand-built ceramic sculptures.
“To encapsulate Miller’s work would be to describe it as figurative surrealism. Fusing observation, imagination, and memory.”
What advice do you have for aspiring artists who are just starting out in their careers?
Be dedicated to your practice, treat mistakes as learning opportunities, try new techniques, buy good brushes, make friends, and have fun.
