As you can tell from my entries here at Miller’s Unity, this year has been a year in the background, a year distracted by seeking, reading and reckoning. Other projects have emerged but all have remained influenced/single pointed by the Miller journey on which I travel.
My most recent project has been following the 2011 phases of the moon in photography.
Yinyang August Moon BL
Miller’s nude and the moon series naturally has been the stream that has carried me and whilst he infamously commented to a student who had attempted a Nude and the Moon in class, “There is only one painter of ‘Nude and the Moon’”, the moon was a perfect source for his aesthetic and spiritual sensibility – a notion of unity. Perhaps it was the gentle coolness of moonlight which was in compliment with his seeing the female form or perhaps connections with the moon lay deep within his philosophy and mysticism.
Or, like me, he may have felt the cycles of the moon deeply influence human behaviour, physiology and in fact all matter. In particular for Miller the feminine is depicted, but not only, and hence Miller’s moons were always connected to the idea of feminine aspects within his masculine abstract landscape. The painted mosaic tiles unite distinct parts within the beauty of his thought and visual expression of that thought.
So the moon, for me, represents a Miller mosaic tile that holds a complete lunar system set alongside and interdependent with the solar system, the land and life forms. This is where Miller resides in a unique understanding of the universal and the detailed essences inherent in all life systems.
Light and dark are both illuminating in all Miller’s expressions and there is no better natural form than the moon for illustration of this, albeit with a dependency on the sun – the illuminati of all.
