Gerold Miller

Gerold Miller Interview



Explore the universe of the german artist Gerold Miller through the image experiment. Berlin based artist joins all borders from painting, scupture, installation and more. Gerold Miller still asked about pictorial quality along his work, discover his universe, his influence and what is art to Gerold Miller.


↓ Interview Below

GEROLD MILLER, Interview, SCANDALEPROJECT, artist, contemporary artist, emerging artist, art installation, visual art, art exhibition, exhibition view, creation, artist, contemporary art, Interview, art scandal project, scandale project,


It’s hard to define your work at first as it appears to be a hybrid form of art, in between different mediums such as installation, painting and sculpture. How would you describe it?

To reduce my art works to one type of work only would be very one-dimensional. As open objects, they can be wall related sulptures, drawings in the space, or flat architectures. They unite antipodes, however they are are deeply rooted in the here and now.



set 46, 2012, lacquered stainless steel, 200 x 160 x 8,8 cm, Collection of the artist. set 155, 2013, lacquered aluminum, 200 x 160 x 8,8 cm, Collection of the artist. set 201, 2014, lacquered aluminum, 200 x 160 x 8,8 cm, Collection of the artist Installation view, Kunsthalle Weishaupt, Ulm 2016 (photo: Jan Windszus)


How does your work interact with space?

As an artist who works in the realm of the minimal and conceptual, I don’t assume the presence of the picture but develop it by moving towards it from a maximum distance. My works mark the border area between sculpture, wall area and painting. They include all elements of a picture: composition, depth, format and color. But they are fragmented and put together again in the simplest way possible. This is a method I have been applying until today, working on the notion of a picture as a spatial concept.



Which importance do you give to the frame as I read you use as an autonomous part?

The frame is relevant to me in the sense that the viewer receives no further points of reference for the pictorial invention.



Why working mostly with lacquer?

Working with lacquer and thereby collaborating with specialised companies has been a conceptual decision. Also, using high quality lacquer allows me to achieve an incomparable level of surface poignancy.



I read that you were trying to go beyond the restrictive function of art, can you tell us more about it?
The series “Monoform” has so far been the most extensive approach to this. They emerge from a deployment of color and form that cannot be reduced any further. This way, they stress the traditional format of the “picture” to its limits. As “images without image” they are neither references to something preexisting, nor do they stimulate associations. Nevertheless, they explicitly deal with questions concerning imagery. The “Monoform” meet these criteria in a conceptual sense, understanding the idea itself as the work of art.



To me your work asks this main question which is what is a picture, or how does a picture relate to life? Do you agree with this or can you tell us more about this?

Reality is the substance of my work. Since the beginning of my artistic career I have been engaging with the withdrawal from the picture without actually leaving it behind. My work therefore oscillates between art and reality. In the surfaces of my pieces there are reflections of coincidental images, brief impressions, fragments of the daily flood of images, on which I have no influence – and I wouldn’t want to, either. As an unfiltered mirror of the present my pieces stand for a similar “openness” in dealing with images as can be found in the work of artists such as Andy Warhol.



Do you think that nowadays artists show an aim to experiment as strong as it used to be when you started ?

To be an artist, a producer of images, is a huge societal responsibility. In my time, the path to success
was not an easy one. The art market was much smaller, because it used to reduce itself to Europe and the US. There were only few galleries and of course social media, as an accelerator for artist careers, did not exist. Young artists today have to face the challenges and demands of the art market from a very early stage in their careers, which is hard. I feel like we had more time to learn and to develop our own artistic positions. I am close friends with some younger artists and see the problems they have. But at the same time I have a lot of confidence and trust in their generation.



What were your main influences when you started ?

My main influences were and still are the European ZERO artists, American West Coast Abstraction from the 1960s and also Neo Geo from the 1980s, which was the time of my studies.



Monoform 48, 2015, two lacquered aluminum angles, 15 x 600 x 15 cm Monoform 1, 2014, two lacquered aluminum angles, 15 x 600 x 15 cm Installation view, Kunsthalle Weishaupt, Ulm 2016 (photo: Jan Windszus)


Abstract art led galleries to exhibit it through the white cube so that they would have the most neutral space and would give the possibility to the viewer’s gaze to fully focus on the work. Thus your work includes space or at least deals with the notion of space. How do you think different spaces change the way to look at your work (as it can be exhibited in a white cube, a museum, an hotel, a house, etc.) ?
Every space or setting activates my work differently. Again, I understand my work as “open objects” that can be placed in any context, being open to any kind of interpretation.



Installation view, Lange + Pult, Auvernier 2016 (photo: Sully Balmassiere)


 Is there any dream place where you would like to show your work ?

I am always curious about new agents and sites in the art world and feel that in the last years there have been some exciting shifts from the traditional hubs of the art world to lesser known, non-western places.



Art is responsibility, liberty, a lot of work, and for me, besides my family, the essence of life. “


Photographs and text courtesy of the artist.

Questions of Fiona Vilmer writer specialized in contemporary art.