Maxwell G. Miller
Interview with featured artist and 2nd place winner of the 2023 Order & Chaos competition:
Maxwell G. Miller
Maxwell G. Miller - The Kiss of Consecration, oil on linen, 60"x42", September 29th, 2023
Can you provide a brief overview of your journey as a visual artist and how you got started?
I started in the theatrical arts. Acting and directing evolved into scenic art and design, then into specializing in large-scale puppetry. I started pursuing visual art exclusively in 2016. The language and beauty of visual art appeals to me in the way it allows me to encompass that theatricality and express my thoughts and ideas with the viewer in a way that is wholly my own. When I recognized I had met the limit of what I could do on my own, I moved to Pennsylvania to study with master artist Anthony Waichulis at the ÀNI Art Academy. I have since graduated and continue to apply that sense of drama and romanticism to my work.
Cervicalgia, charcoal on paper, 8 x 6 inches, August 2020, $400 USD
Who are some artists that have influenced or inspired your own artistic development?
Solomon J. Solomon is probably the biggest one. I love his work and find it very beautiful. For example, the swirling torrent of composition in his painting “Samson” I find really inspiring.
How has your style evolved over time?
I have primarily focused on developing my technical skills as a tool to communicate. It’s less that my style has evolved, but there has definitely been an evolution in my taste in artwork after years of exposure along with my ability to communicate with my work. I’m now able to rely on these skills for visual communication and can focus more on story telling and composition.
Portrait of Olive, Oil on panel, 7 x 11 inches, April 2023, NFS
Portfolio Discussion:
Can you walk us through your portfolio, highlighting specific pieces that you find particularly meaningful or representative of your style?
In “The Journeyman”, I included myself as one of the objects of a dense still life. It is the most meaningful work to me thus far. It’s a self portrait about my creative development and values. I feel it says a lot about my body of work as a whole. Portraiture, figurework, and dense still life are all things that I love to paint “Spellbound” is also particularly meaningful. The blurred figure work is non-specific, giving the idea of a woman, with still life objects around her representing a group of people historically persecuted for displaying their femininity. It’s a subject that’s important to me.
The Eternal Garden, charcoal on paper, 25 x 19 inches, July 2021, Sold
How do you choose the subjects or themes for your artwork?
Thematically, I’m always looking for something impactful. Something that teaches an important lesson and tells a relevant story. In terms of subject matter, I then look for a vehicle to communicate that story. For example – The subject matter of my current work in progress is King Midas, a clear and obvious choice to communicate the theme of vanity. Midas is a vain guy and his vanity loses him his daughter. That’s a very clear depiction of vanity and therefore very easy for me to piggy-back off of in order to express my own ideas.
Can you describe your creative process from conception to completion of a piece?
I have a growing list of ideas written down, which is always where I start. I’m always thinking about themes and compositions throughout my day to day. When I think of something that I’d like to paint, I add it to the list. When I’m ready to start a new work, I review the list and find an idea that speaks to me in the moment or is most impactful right then, and that’s the composition I go with. It’s usually already pretty well finished in my head, so I just have to take reference photos, find models or objects, whatever I need. I take a lot of reference photos, usually around one-to-two hundred depending on the complexity of the painting, constantly changing and moving things until I find what communicates best. This is the part of the process that I have the most affinity for – composing. Then, I paint. That process is pretty basic: I start with an under layer, then refine the details with a second layer. Typically when I’m designing a piece, there is some historical throughline or design choice that carries through to a frame I’d like it to make. I then design and build the frame based on those details. “The Tale of the Curious Oysters” is probably the best example of this – reminiscent of a 17th century Flemish still life paired with a dutch ripple mold frame.
The Journeyman, oil on panel, 14 x 9 inches, June 2022, NFS
What mediums and techniques do you prefer to work with, and why?
I prefer oil paint exclusively. I’ve done a lot with charcoal too, but I prefer oil as I find it’s more expressive. Technique is something that I’m still trying to settle into. While I’ve been using very small brushes and trying to communicate things exactly as I see them, lately I’ve found that I want things to be dreamier and more abstract, to feel enveloped by it more. We’ll see where that takes me.
How do you handle feedback, both positive and constructive criticism?
I find that feedback motivates me to improve, and that’s exciting. I’m already my own harshest critic, so what’s the worst someone else could say? I think the best way to take criticism is only as a single data point in the larger scope of effective communication. Criticism may come from a place of expertise or ignorance, with a goal of being helpful or hurtful. Ultimately, all of it can be useful to help you think deeper about your work, and look a little closer, even if you don’t agree. I tend to only seek criticism about finished paintings, that way I can move on and learn from those critiques to improve my next painting, not change my last one.
Behind the Curtain, charcoal on paper, 8.5 x 12.5 inches, April 2021, Sold
How do you balance pushing artistic boundaries with meeting client or audience expectations?
The thing I’m most concerned with is doing the best work that I am capable of. Sometimes that means experimentation and boundary pushing, but it always leads to growth and a result that I can be proud of. Any other external concerns, such as audience expectations, are not as important to me.
What role does continuous learning play in your artistic journey?
Continuous learning is the artistic journey – they are the same thing. I believe every artist should learn and develop with every project they do. The effort of painting and the ability to communicate thoughts, ideas, and themes (no matter how successfully) can be improved upon with every new artwork, but only if you are continuously learning from it.
Spellbound, Oil on panel, 6 x 7.5 inches, March 2022, Sold
Where do you see yourself as an artist in the next few years?
Starting this year, I anticipate I’m going to have a lot more output. I’d like to be doing larger, more impactful, dramatic work. I’m pursuing more figurative work as well. I’m sure these aspirations will reflect in my work over the next few years.
What advice would you give to young artists or beginners?
I think the most important thing for young artists and beginners to know is that dedicated practice isn’t enjoyable. You won’t always be having fun. In fact, having a bad time usually means you’re getting better. Resolve to be the best artist that you can possibly be and pursue that version of yourself. I also recommend learning from a single source at the beginning. Find the best person you can, and learn as much as you can from them. Then find a network of support. Support is extremely important, and it’s unrealistic to expect that you can do it alone. Above all else, remember: There are very few challenges that cannot be overcome with drive, dedication, introspection, and passion.
Thank you, Maxwell!
ABOUT THE ARTIST:
Self Portrait 2020, charcoal on paper, 8 x 10 inches, May 2020, NFS
Biography:
Maxwell G. Miller (b.1992) is an American contemporary realist artist working in the Dominican Republic. His artistic career began in the theatrical arts, where he became well known for specializing in large-scale theatrical puppetry. He served as director, artistic designer, and scenic artist for several theater organizations based in Cleveland, OH before pursuing visual art professionally in 2017. After refining his technique and developing an interest in mythology and history painting, he relocated to Scranton, PA in 2020 to complete an apprenticeship with master artist Anthony Waichulis at the ÀNI Art Academy. He completed his apprenticeship in 2022 and now serves as the Dean of the ÀNI Art Academies Dominicana in Río San Juan, Dominican Republic, where he strives to cultivate a richer artistic community through artistic education.
Maxwell’s sense of theatricality has continued to influence his compositions and has developed into a portfolio of dramatic portraiture and dense still life with a focus on storytelling. His work has received international awards and recognition from leading art competitions and major arts publications including The Art Renewal Center, The Boynes Artist Award, National Art League, The FiKVA Foundation, Bold Brush, The Artist’s Network, Southwest Art Magazine, Art Base, and Art Week. He is an associate member of the Oil Painters of America, an affiliated artist of Lovetts Gallery, and has works in private collections across the globe.
Artist Statement:
My career began in the theatrical arts as a specialist in theatrical puppetry. I always enjoyed the process of visual problem-solving: How can I take rigid materials and manipulate them to move in a fluid, life-like way? As I refined my techniques in the visual arts, I discovered that by manipulating charcoal and oil paint in the same way, it is uniquely possible to contain the entirety of a complex story in a single image. I developed a particular interest in mythology and history painting, and my work has become an extension of this style of storytelling.
Realism gives me the ability to clearly communicate through recognizable imagery. I find inspiration in other artistic media that focuses on storytelling - music, movies, tv shows, folklore, mythology - but I’m most inspired by theatrical arts and puppetry. I enjoy creating artwork containing several figures or dense still-life, and most of my work falls somewhere in that range.
There is a revival of realism happening now that I strive to be a part of. My sense of theatricality has continued to influence my compositions and has developed into a portfolio of dramatic portraiture and dense still life with a focus on storytelling.