ANTHONY MILER

Miler’s paintings are often characterized as tranquil and meditative, centered on cycloptic eyes that expand into swooping, birdlike forms. While the overall shapes are simple and geometric, subtle modulations in the linework impart an organicity that brings the canvas to life. For over a decade, raw, unprimed canvas has been the artist’s material of choice—a high-risk option with little room for error. Each mark is precisely controlled and concise, the result of extensive studies and deliberation, and reflects the candid way in which the artist approaches his work. The eyes that inhabit his paintings are just as unflinching, gazing straight forward and impervious to distraction.

In contrast, Miler’s monochromatic graphite works are more gestural, often submerged in a flurry of crisscross lines. The eyes now come in pairs and are noticeably agitated, hiding behind the “thickets” as if wary of the viewer’s gaze. Coupled with pursed lips and gritted teeth, there is an emotional intensity that signifies a sharp change in tone from the serene color works. The complex latticework echoes the early work of Mondrian, instilling structure and rhythm in an otherwise chaotic composition while also flirting with the ritualistic and mystical.

Over the past couple of years, these two distinct bodies of work have undergone increased cross-pollination—the stark black lines now exist in the same space as the soft gradations of color. Furthermore, Miler has begun incorporating thickly laid oil paint to add a textural, three-dimensional element to his work. The density of the oil weighs down the airy pigment, further contributing to the paintings’ structural integrity.

The title of the exhibition, On Our Way To The Devil’s Fortress, suggests a group either overcoming adversity together, or marching towards collective destruction. Amidst a global pandemic, looming climate collapse, and other catastrophes, one begins to wonder to what extent we have chosen this path for ourselves. A similar sense of apprehension emanates from the painting The Devil’s Fortress, in which a massive crag looms in the distance, enveloped by an eerily calm, pale magenta sky. Two menacing, snake-like guards dare the viewer to step forward, while an ominous orb, neither sun nor moon, hovers overhead. Yet the so-called “devil” itself is nowhere in sight, and without a clear-cut adversary, the viewer is left to steep in a hazy dread of an impending reckoning.

Despite dipping into such pervasive themes, Miler’s paintings never make any sweeping conclusions. Instead, they offer the viewer breathing room to explore new ideas, to consider the human existence through instinct and internal investigation as opposed to industrial, top-down dictation. A conversation of equals rooted in a deep humility and respect for humanity, rather than one-sided showmanship. We invite you to immerse yourself into Miler’s pensive works and openly embrace new realizations that may come forth.

Press Release: Courtesy of MAKI