Approved: 05.07.2009

Rob Miller

Artist, Lecturer / academic, Maker, Writer

Approved: 05.07.2009

Rob Miller is a Senior Fellow of the Higher Education Academy, and since September 2016 has been focusing on practice full time. He gained a Sculpture Degree from the Wimbledon School of Art in 1993, followed by an MA in Graphic Media [UAL] in 2007, and works primarily using sand-cast lead. Interests include the illusive status of objects & things, the condition of repetition, temporal anxiety the Anthropocene dilemma.

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      Biography

      Rob Miller is a Senior Fellow of the Higher Education Academy, and since September 2016 has been focusing on practice full time. He gained a Sculpture Degree from the Wimbledon School of Art in 1993, followed by an MA in Graphic Media [UAL] in 2007, and works primarily using sand-cast lead. Interests include the illusive status of objects & things, the condition of repetition, temporal anxiety the Anthropocene dilemma.

      CV & Education

      About

      Bio > Rob Miller is a Senior Fellow of the Higher Education Academy, and since September 2016 has been focusing on practice full time. He gained a Sculpture Degree from the Wimbledon School of Art in 1993, followed by an MA in Graphic Media [UAL] in 2007, and works primarily using sand-cast lead. Interests include the illusive status of objects & things, the condition of repetition, temporal anxiety, and the Anthropocene dilemma.

      Practice > My current work involves pattern-making, sand-casting and the appropriation of the status of lead with its alchemical & arcane associations. The frustrations of using an iterative process that fails more often than it succeeds further draws down on this alchemical association. The speed at which new lead tarnishes to a dull, ubiquitous and light-consuming grey is perhaps a suitable metaphor for the [ultimate] fallacy of our endeavours. Leads weight and neurological toxicity conflicts with its supreme malleability and stoic resistance to environmental decay – beautifully antithetical conditions.  

      I am interested in the elusive but enduring status of objects and thingness, through an indexical link to the dual conditioning agents of making and materiality.  As an artist my modus operandi has always been making is thinking (visual art as a first order practice) which recognises the experiential creative process in which materials and making mediate between thoughts, ideas and possibilities.

      Origination > The work originates from an interest in repetition, the reiteration of the same and its relationship to our temporality. We habitually repeat, and are involved in many forms of ritual that suggest a motivation intrinsically bound to repetition, and yet “there is something about the nature of repetition to unmake the very identity it seeks to confirm.” If repetition is played out too long it becomes a narrative within itself, operating somewhere between boredom and engagement. William Gibson states in the novel Pattern Recognition that “Homo sapiens are mostly about pattern recognition, both a gift and a trap”, a duality that continues to drive my practice concerns.

      Text > The grey-everyday seduces through conformity and standardisation. Our malleability through habit, ritual and tradition confirms that we are simply pattern processing machines, born out of pattern and destined to live out our lives as pattern. Familiarity gives meaning to life, cushioning our inherent time-dependency allowing us to deal with the urgency of life. We expect repeatability and consume consistency – pattern is control and safety; it is titanic, ubiquitous and blind. Pattern gives continuity without consideration – it simply is.

      As an educationalist > I see the pedagogic role as accepting responsibility for creating and adapting student-focussed learning environments. A practice in its formative stage of development is potentially vulnerable, being critically fluid and prone to fantastic uncertainties. This requires the teaching to be equally adaptive and resonant to multiple needs and demands. Students should be challenged and supported through the process of defining their own research activities and by discovering suitable equivalences within a culture of research-informed teaching.

      CV: 

      MA Fine Art (Graphic Media) University of the Arts, London (Wimbledon) 2007
      Research Paper: Time the Comedy Villain & Convergent Temporalities [the time-condition of the digital video-loop].

      BA (Hons) Fine Art (Sculpture) Wimbledon School of Art, 1993
      Dissertation: Studies in Colour Perception [colour in sculpture, colour as sculpture].

      PGCE, in Post-Compulsory Education and Training, Greenwich University, 2004

      Selected exhibitions:

      2017 – Black Swan Open, Frome, Somerset
      2016 – The Somme, Part II, Acid Drop Copse Collective, ArtMoorHouse, London [Guardian 5 of the best highlight]
      2016 – The Somme, Part I, Acid Drop Copse Collective, Honeywood Museum Charshalton
      2015 – Co_Laboratory, London
      2015 – Beers Lambert, shortlisted for Contemporary Visions VI
      2015 – Velocity:11, Crypt Gallery, St Pancras Church, London
      2013 – The Itinerants, The Old Police Station, New Cross, London
      2013 – London Calling, Shoreditch, Factory-Art, Berlin [Catalogue published]
      2013 – Open West, Newark Park and Cheltenham Art Gallery + Museum [Catalogue published]
      2013 – The London Group Centenary, [Catalogue published]
      2013 – Aesthetica Art Prize (long listed), Aesthetica Magazine, York [Anthology Catalogue published]
      2012 – Time Will Come, part of Project Berlin, Factory-Art, Berlin [Catalogue published]
      2012 – Solo Award, WW Gallery, London [Catalogue published]
      2011 – Mostyn Open, Mostyn Oriel Gallery
      2011 – Afternoon Tea, WW Gallery, part of the UK at the 54th Venice Biennale, Venice [Catalogue published]
      2010 – Art Star Supermarket, London Art Fair, WW Gallery
      2010 – In Time, Blue Print, UAL, High Holborn, London
      2009 – Time, WW Gallery, London
      2009 – The London Group Open, Part 2, Menier Gallery, London
      2008 – Raw & Un-Curated, Polish Deconstruction, Shoreditch Town Hall, London
      2008 – Hungry Eyes, video screening, Gallery 38, Oxford
      2007 – Sub, Trinity Buoy Wharf, London
      2006 – Currents, Trinity Buoy Wharf, London
      2004 – The Visitors, Andre Demedts Gallery, Belgium
      2003 – Kingston Open, Stanley Picker Gallery, Kingston [winner]
      2000 – Variations, Penny School Gallery, London
      1999 – Works in Progress, Penny School Gallery, London
      1999 – À la rentrée, Stanley Picker Gallery, Kingston
      1995 – 7th China International Photographic Expo, Beijing, China
      1995 – Handshake, St Margaret’s, Norwich,
      1995 – Open Studio, Oaks Park, Sutton,
      1994 – Open Studio, Warrior Studio, Brixton
      1993 – COOLTAN Arts, Summer Expo, Brixton, (co-curator )
      1993 – Gallery Dagmar Expo, London
      1992 – The Leicestershire Collection
      1991 – Cannizaro Park, Wimbledon
      1989 – Sculpture & Forestry Open Day, Croydon

      Recent employment & professional experience:

      Programme Leader BA (Hons) Art & Design, FdA in Art & Design, Kingston College (validated by Kingston University) 2009 – 2016.
      Lecturer, Art & Design, Kingston College (Sept 06 / Sept 09)
      0.5 Lecturer (0.5 Technical Instructor) Kingston College, (Sept 05 / Aug 06)
      Sessional Lecturer, Art and Design, Kingston College, (Sept 04 / Aug 05)

      2016 – Awarded the status of Senior Fellow, HEA
      2016 – Appointed External Examiner, Ba (Hons) Designer-Maker, Hasting Coast College, Brighton University.
      2015 – Higher Education Academic Board (Kingston College)
      2014 – QAA Higher Education Review (panel member)
      2013 – Re-approval of the Ba (Hons) Art & Design provision, Kingston University 2011 – Re-approval of the FdA in Art & Design provision, Kingston University
      2012 – Validation (commendations) of the BA (Hons)Art & Design top-up provision, Kingston University
      2011 – Appointed as External Examiner, FDA Contemporary Creative Practice, Cornwall College (2011 / 2014)
      2011 – External Academic on FDA Contemporary, Cornwall College Creative Practice validation panel.
      2011 – Subject specialist teaching mentor, (for PGCE candidates) Kingston College