Q&A with Kellie Miller
We have put together a Q & A with questions from you and my team. I hope you find it of interest.
What do you feel has been the most significant moment in your artistic career?
My professional artistic journey started when I was accepted onto my art foundation course at Camberwell Art College. I would have never got an interview if it hadn't been for the Harrod's department store sketchbooks that my mother had bought me. She would buy every size possible during their sales, and they were often be priced at £1 or lower. The interview panel was so intrigued to meet the applicant with all matching sketchbooks that they invited me for an interview. I think they were astonished to meet me as I was far from what they expected.
What is your process for formulating new ideas? Do you use sketchbooks, visit a place of inspiration, keep journals, etc.?
From the age of 14 or 15, my art education was intense. My school was closely affiliated with Wimbledon School of Art, where I studied for my art A level and attended life drawing classes twice a week. I used sketchbooks from then until my mid-30s.
Art school training requires sketchbooks as support materials for your ideas. I use sketchbooks less now, trusting my instincts and experience to be as spontaneous as possible. Perhaps in time, I will return to them purely to play rather than having to use them.
I have always used notebooks and write daily; this has somehow replaced the need to document my ideas visually. My ideas often come from words and feelings, and I then translate them by finding a visual language to convey what I want to say.
Do you have any rituals when working in your studio?
I used to tidy and organise my workspace before starting to create. While sometimes this was due to procrastination, I wanted to centre myself and start work from a solid base. Nowadays, I don't spend as much time preparing my space as time is so limited.
I spend a lot of time preparing my painting boards before I start. I build my panels with several layers of gesso; halfway through, I will sand and then start laying up again. When I get to the final layer, I will sand again with three different wet and dry grades. I see this preparation as mediation and as a way of bringing energy to my work.
There is so much detail in your paintings. How long on average does it take for you to create a new piece?
My earlier works were minimal and simplistic. Only over the last 12 years, my artworks have acquired more detail. I may return to a more minimalistic approach in time, but for now, this is how the works need to be.
Often people are fixated with how long something takes to create; creative people do not usually operate in this way. If we were to price our time, we probably wouldn't make anything. I can spend months just preparing my boards to work on, and then I might work on a few pieces simultaneously. I may then focus on one piece for weeks until complete. So it is difficult to say how long a piece of work takes to create.
Besides, I wonder how you measure the time taken to create an artwork? Does it include the artist's training, the years spent establishing a practice or is it just the time spent in the act of creating a particular piece?
Kellie Miller: Symphony
How did you come to use gesso and other mediums in the way that you do?
I am very interested in processes and materials. I used to create ceramics for a while after I graduated. I worked with a master guilder who would produce gesso frames for me to present my ceramic works. Gesso is usually a foundation material like a fine plaster. It is very versatile and reminds me of ceramics. I specialised in porcelain and glazes during this time, creating ceramic wall pieces. Because of the limitations of ceramics, I decided to change direction towards gesso. I have worked with this material for over 16 years.
As my training was in mixed media, I don't identify with one material. As an artist, I like to turn my attention to whatever materials interest me at any given time. My fascination with materials and processes is what attracts me to the work of artists that I represent.
You've mentioned that travel inspires you. Tell us about somewhere that holds a special place in your heart.
My works over the last 12 years have focussed on travel and nature. My paintings are often a reminder of places and experiences.
With my mixed heritage, I consider myself coming from the world, and I have valued the travel I have experienced over the years, with many places close to my heart. My first independent trip was to Mexico, where I fell in love with Oaxaca's art and culture. I have spent a lot of time in Japan, through exhibitions, trade missions and my artist residency and without a doubt, Japan will always have a special place in my heart.
The Japanese sensibilities have influenced my style and life.
My last international trip was in January 2020, when we were fortunate to visit Cape Town, South Africa. The trip so inspired me, and I plan to return at some point to forge partnerships there.
You've recently branched out into portraiture. Do you think this is something you would like to explore?
In 2016 my nephew asked me to paint his portrait, which I did for his next birthday. I enjoyed the process so much that I then painted a portrait of my husband. Since then, I am keen to explore the idea of producing a collection, particularly of people from mixed ethnic backgrounds. With fewer portraits representing people of colour, I feel the need to give a more realistic account of our society.
The works I represent in the gallery have a personal appeal to me. I curate works of art that I would buy myself and can recommend to my collectors. I will only select artist's works that appeal to me. But I have to take care that the works I represent don't influence my artworks. Likewise, I am often helping to develop my artist's works. But I will always continue to explore many subjects in my unique signature style.
How important do you think it is for an artist's work to have meaning behind it?
I think every artwork has a meaning and that sometimes the artist isn't always fully aware of what they are creating. Others might understand the meaning, like the audience or a critic, or maybe later by the artist. Artworks can have different meaning depending on the viewer and how it translates to them.
Sometimes the intention of artwork is set at the beginning of creation. Other times the artwork's meaning evolves and only surfaces later. It is not always easy to interpret a piece of art. Unlike music and the written word, which is all around us, the visual arts needs us to understand a visual language. What is required is to be still, listen and feel how you feel about what you are seeing.
For some observers, this can be uncomfortable. If they don't instantly understand, then the instinct is to dismiss. With time, patience, and perhaps some guidance, they can change their opinion. In the gallery, we have witnessed clients purchasing works, following a careful exploration, that they had initially disliked.
I had an exciting conversation with Jowonder, one of my artists. She said artists who seek to create beauty are some of the most complex creators, and often the works they make have the deepest of meaning.
I have always felt that embracing beauty and joy in artworks should not be dismissed as frivolous. Jowonder was alluding to artists, often with idyllic upbringings, who create angsty, anarchic, and rebellious works that lead dull, uneventful lives. In contrast, those artists who need to create beauty and make people laugh do so because their lives often don't necessarily reflect this. The ability to dig deep, find the light, and share it with others has the most significant meaning.
I have heard that you talk to your paintings; can you tell us more about this and why you do it?
You might think me mad, but I must admit I do and always have done. I may start off working on one piece of work, and then the direction changes, and I end up working on another. It will then change again, and I will find myself working on another piece or going back to the first piece. Through this, I hear internal voices competing with one another, wanting to be next and wanting to be finished.
In the summer of 2020, you spoke out about the Black Lives Matter (BLM) movement and what it meant to you as a black female artist and business owner. Do you have plans to explore this theme further through your art?
The Black Lives Matter events of last year was an awaking for me. It allowed me to share my experiences without apology.
I have found it heartening that our younger generation is stepping up and embracing change, saying enough is enough and having the courage to engage in meaningful debate. Their actions give me hope for the future, both as a woman and as a black woman.
I look forward to a time when I'm not asked 'where I'm really from'? When I'm not the only ethnic person, or one of a very few, present in a room. When I don't have to travel 100 miles to get my hair done because the city I live near doesn't have hairdressers for my hair type. When being black, brown, blue or white doesn't matter. When black women are not four times as likely to die in childbirth. When our differences are embraced and celebrated.
As an artist, I cannot see how these politically charged times won't manifest in my artworks, but I will always endeavour to produce beautiful art.
What have been your outstanding achievements?
My solo exhibition in Japan, taking my gallery from pop up to success, winning best independent retailer 2018, achieving my MA in Arts Criticism setting up my KMA Awards. All of these have been wonderful, but I think my most important achievement is being true to myself by being independent and resilient through the years and having the courage to embrace my creativity in both art and business.
How does being a practising artist affect you running a successful art gallery? How does this influence your business?
Being an artist and gallery owner gives me the ability to see both sides of the coin, which benefits both our artists and our clients. Having direct experience of the making and creative processes means we speak the same language as our artists and can inform our clients. We can be honest with our artists about the business of art. I believe this combination is potent, authentic and brings credibility to the art we represent.
Do you see the role of an art gallery changing, and what do you enjoy most about being a gallery owner?
The growth of the online digital market and increasing consumer confidence means that art will become more accessible. However, to navigate this world and know what you are buying will need the skills and professionalism of people who know what they are doing.
I enjoy facilitating new artworks, bringing artwork together, curating, exhibition planning, meeting people connecting artwork to them, and developing relationships with my fabulous artists. Most importantly, I love introducing artworks to my clients and building their collections and making new friends with them.
Kellie Miller: Mr Big Hair