Gerold Miller creates minimal and abstract visual experiences investigating the fundamental elements of painting and sculpture in an attempt to pinpoint where sculptural space ends and the painted image begins. This project sees him oscillate between image, relief, sculpture, and architecture, all radically (and precisely) reduced to a composition of colour, line, shape and form. Miller’s “paintings” utilise an aluminium or stainless steel base, coated in either matte or glossy lacquer to present finely shaded gradients and bold monochromatic tones — including his notorious Set, Instant Vision and Total Object series. While his “sculptures”, such as the Monoform and Verstärker series, talk more directly to architecture, dimension (height, length and depth) and the concept of an open structure; opposing a defined and enclosed geometrical form, these works reject spatial boundaries and emphasize infiniteness. Miller’s practice is one of space and time, stagnancy and movement, subject and object, where viewer and work merge into one unified artwork.
Miller lives and works in Berlin and Pistoia (Italy); his work has been exhibited internationally at galleries, museums, and public collections, including: Neuer Aachener Kunstverein (2021); Mies van der Rohe Haus, Berlin (2014); Nationalgalerie, Berlin (2002); Louisiana Museum of Modern Art, Humlebæk (2016); Kunsthalle Weishaupt, Ulm (2018); NOMA New Orleans Museum of Art (2019); Tel-Aviv Museum of Art (2012); Museo de Arte Latinoamericano, Buenos Aires (2010); Museum Moderner Kunst, Wien (2010); Fondation Cartier pour l’Art Contemporain, Paris (2004); Esbjerg Museum, Esbjerg (2011); Schirn Kunsthalle, Frankfurt am Main (2006); Opera City Gallery, Tokyo (2006); Museo d‘Arte della Svizzera Italiana, Lugano (2017); Institute of Modern Art, Brisbane (1997); Kunsthaus Bregenz (1999); Borusan Contemporary, Istanbul (2014) and CAN Centre d’Art, Neuchâtel (2006).