GEROLD MILLER
Monoform 62, 2015
two anodized aluminum angles
4.50 × 90 × 4.50 cm | 1.75 x 35.5 x 1.75 in
Monoform 23, 2014
two zinc-plated aluminum angles
3 × 50 × 3 cm | 1.25 x 19.75 x 1.25 in
Verstäker 12, 2016
Polished Aluminum
143 x 41 x 46 cm | 56.25 x 16 x 18 in
Gerold Miller Apr 24 - Oct 02 2016
Kunsthalle Weishaupt, Ulm Germany
Verstäker 28, 2017
New Orleans Museum of Art - Sydney and Walda Besthoff Sculpture Garden -Permanent Collection
Gerold Miller Apr 24 - Oct 02 2016
Kunsthalle Weishaupt, Ulm Germany
Anlage 50/51, 1995
Steel, matt lacquer
280 x 220 x 12 cm | 110.2 x 86.6 x 4.7 in
set 511, 2018
lacquered aluminum
180 × 144 × 9 cm | 71 x 56.75 x 3.5 in
Gerold Miller Apr 24 - Oct 02 2016
Kunsthalle Weishaupt, Ulm Germany
section 7, 2017
Lacquered aluminum
99.5 x 133 x 5 in | 253 x 338 x 12.80 cm
Gerold Miller November 2 - December 23, 2017
Cassina Projects
Gerold Miller November 2 - December 23, 2017
Cassina Projects
set 418 , 2017
Lacquered stainless steel
100 x 80 x 5.30 cm | 39.25 x 31.5 x 2 in
Gerold Miller (b. 1961, Altshausen, Germany), is an established contemporary minimalist and abstract artist presently based in Berlin. He studied sculpture at the State Academy of Art and Design in Stuttgart.
Venturing within the intersection of sculpture, painting, and installation, Miller tests the limits of conceivable space and representation. His notorious vision, set, and section series derive from a minimalist principle of a precise and radically reduced composition of superimposed color surfaces. To produce a contrasting effect, the artist combines finely shaded gradients, matte and glossy lacquer, as well as varying monochromatic tones. The viewer and his immediate surroundings are momentarily reflected on the lacquered stainless steel, becoming an integral element of the composition itself and defying preconceived notions of artwork as an inanimate object.
Miller pushes his minimalist ideas to an even further extent. In his Monoform series, two equally proportioned aluminum angles are hung horizontally, one above the other. Similarly, Verstärker or “amplifier”, his first series of free standing sculpture, also draws from the premise of an open structure concept. Made of three projecting beams, it embodies the universal and basic notions of dimension: height length, and depth. As opposed to defined and enclosed geometrical forms, the Monoform and Verstärker series reject spatial boundaries and emphasize infiniteness.
The artist's oeuvre exploits the innumerable possibilities of interpreting and visualizing our physical present, while engaging with diverting themes such as abstractions and form, perception and reality, motion and structure. Although repetition and seriality are essential subjects of his research, each work is distinct from one another. Miller successfully creates an image exempt of preexisting references and introduces a space to be discovered and defined by its viewer.
Gerold Miller's work has 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.
