Born in Altshausen and now based in Berlin, Germany, Gerold Miller (1961) is known for sharp edges in his creations, with geometric forms that create tonal difference on surfaces. His sculptural paintings act more as objets d’art rather than decorative canvas for spaces. With a signature of high-gloss car lacquer imposed on his work, the arts become a reflective agent that transforms space while remaining a modest composure on blank walls.
The idea of spatial transformation is also echoed in the scale of Miller’s work, where they merge with respective platforms to become the platforms themselves. The negotiations of two surfaces give a visual depth and effects that go beyond monochromatic blocks.
In a way, Miller’s signature of high tech materials that originate in industrial production, resonates with his background in terms of creating. The Bauhaus style, with simple geometries and basic colours, is strongly present in his work, only to be broken by his own rules to produce more fitting visualities for contemporary contexts. Gerold Miller’s work cannot be viewed individualistically; they are a collective vision, where his career is laid bare, minimal, and wholesome on a timeline of artistic practice. Text: Nhat Vo
Gerold Miller’s work has been exhibited internationally in various leading institutions including, Nationalgalerie, Berlin; Louisiana Museum of Modern Art, Humlebæk; Kunsthalle Winterthur; Kunstmuseum Stuttgart; Kunsthalle Weishaupt, Ulm; Tel-Aviv Museum of Art; Museo de Arte Latinoamericano, Buenos Aires; Museum Moderner Kunst, Wien; Fondation Cartier, Paris; Berlinische Galerie; Schirn Kunsthalle, Frankfurt a. M.; Opera City Gallery, Tokio; MASI Lugano, Museo d’arte della Svizzera italiana; Musée d’Art Contemporain, Bordeaux; and ZKM, Karlsruhe.