As an artist I am interested in the hybrid of life and art. By combining paint with different materials, I am able to convey concepts and metaphors that relate to life within the vocabulary of abstract painting.

I use thread to make lines and marks. By puncturing the painted surface of the canvas, I “draw” threaded lines. I try to emphasize the hybrid of sculpture and painting, material and illusion, fragility and strength. The work is tactile and optical. I’m interested in thread for its linear properties and its relation to drawing. It carries a suggestive association to connection, continuity and tension while retaining an ethereal poetry.
I try to express an emotional sensibility that conveys a quiet presence, a repetitive rhythm, an accumulation of slightly shifting lines and/or dots that appears to be automatic but reveals the human touch through its imperfection. The titles add another layer of possible interpretation to the work.

By fusing “hands on” tactility with a contained and structured sensibility, the work attempts to blend the historical references of Arte Povera and Minimalism while retaining a personal language.

Curator and art critic Susan Harris writes in her catalog essay:

“Miller’s wall drawings are executed with nails, thread, paint and shadow that underscore the simplicity and expansiveness of her work. She starts with arrangements of painted nails on the wall and follows the shadows they generate with thread. These installations recall Richard Tuttle’s watershed wire drawings of the early 1970s wherein wire, pencil and shadow are confounding, intertwining realities even as Miller’s works- rich extensions of her smaller works on stretched canvas—express themselves as quirky architectural constructions/drawings. Taken as a whole, Miller’s art springs to life through the poetry of line—reaffirming the viability of an art grounded in everyday existence and personal intuition.”