The work of Kellie Miller By Kate Blok

In making these confrontations her work firmly establishes itself as fine art, moving it beyond the skills inherent in using this craft.

The work is self-referential, autobiographical even. Miller has the ability to absorb and incorporate the breadth of her personal experiences into her art. My hypothesis is that Miller’s oeuvre increasingly locates her as a London to Brighton artist, or to lend the expression some familiarity, a Brighton Belle. This luxury train historically transported Londoners through the South Downs to enjoy the restorative treats of Brighton. In her paintings, and in her ceramic pieces, the colours, shapes and delineated compartments conjure the memories of many journeys, especially travelling from the capital to the South Coast.

Central to Kellie Miller’s work is the interplay of the conflict of attraction to her native urban dwelling and the allure of the rural life. This new work effectively decimates the built up landscape and replaces it with singular towers casting shadows over angular yet undulating plains reminiscent of the local countryside. Within these concealed surfaces can be found unexpected decoration, which evoke an optimistic belief in hidden treasures. Soft colours, decorative patterns and hand-smoothed edges lessen the impact of harsh realities.

Central to Kellie Miller’s work is the interplay of the conflict of attraction to her native urban dwelling and the allure of the rural life. This new work effectively decimates the built up landscape and replaces it with singular towers casting shadows over angular yet undulating plains reminiscent of the local countryside. Within these concealed surfaces can be found unexpected decoration, which evoke an optimistic belief in hidden treasures. Soft colours, decorative patterns and hand-smoothed edges lessen the impact of harsh realities.

1. Stephen Dixon. The Sleep of Reason. Ceramics. Art and Perception. No.59 2005