sarah gee miller

collections

  • targets collection

    Perhaps there is no more recognized, loved and understood shape than the circle. It is many things: eternity, completion, comfort, sometimes life itself. There is no beginning or ending. It’s capable of cosmic magnitude and but it can be a personal amulet. It implies there is no end, there is only change. For an artist, the circle offers so many possibilities, it’s beautifully neutral. For me there is no meaning other than the one the viewer places upon it. In this way, we are in collaboration.

  • utopian geometry collection

    These loosely-grouped paintings show the ways in which I see the world and, by necessity, strip it to its component parts. Simplicity isn’t simple, much in the way reduction only intensifies the flavor. These paintings delve into the relationship between primal shape and high-density color to find balance and harmony. Painting is a way to compose the elements into a unified structure, and this attempt to find meaning and wholeness is an act of optimism, a need to see things as they can be.

  • the natural world collection

    Abstraction still maintains its connection to the world around itself. My work has a strong relation to subject matter, even if it may seem elusive.

    TRAVELING BY FERRY

    The journey between Vancouver and Vancouver Island on the BC Ferries has been a life-long meditation on the blue of sea and sky, the light piercing clouds, sudden squalls and gray days, dolphin sightings, the strangeness of an ocean voyage at night. Here are seven small paintings (16"x18" inches/ 41x46 cm) covering those journeys, all on aluminum panel and framed in custom aluminum frames in a dark walnut wood-grain

    ANTHEM These are portraits dealing with issues of identity, whether self- or societally-imposed. How we are built as humans, our way of walking in the world.

    THE WEATHERS is a series of paintings reflecting unexpected or mysterious weather patterns experienced by both our interior selves and the environment in which we live. Things feel jumbled and uncertain, beautiful at times. Shards of bright sunlight through clouds, orange-tipped rain at sunset, the slate blue of the ocean, are all reflected here. The titles are old slang for very specific types of weather. "Armogan" is 19th naval slang for fine or perfect weather. "Bengy" describes the feeling of impending rain. "Flench" is Old Scot for weather that tries to improve but never really does. "Moonbroch" is also Old Scot, the haze that floats around the moon, an ancient hint of coming storms.

    (Note: currently all Weathers are exclusively available through Newzones Gallery of Contemporary Art in Calgary AB)

  • on paper collection

    Working on paper allows me to create faster and more spontaneously. Every painting on paper is acrylic on 100% cotton archival paper with several coats of gesso. Please contact me for specific works and I'll let you know about size and availability.

  • ovum collection

    Working on paper allows me to create faster and more spontaneously. Every painting on paper is acrylic on 100% cotton archival paper with several coats of gesso. Please contact me for specific works and I'll let you know about size and availability.

  • turing test collection

    The Turing Test is a series of small, affordable geometric abstractions exploring how we cannot discern the difference between a computer and a human being.

mesotopia: 

why I make what I make.


As a collagist and painter, my work is largely concerned with clarity, equilibrium, and the expressive possibilities of vibrant color. I’m interested in the implications of totemic signage and the formalities of hard-edged abstraction. This form of abstraction is an interesting duality: it hides its volcanic energy behind imposed order, and is capable of great emotional variance despite a minimal vocabulary. This is where my art lives: a Mesotopia, in the world but not of it, sympathetic to society and yet unable to abide it.

Recently I've welcomed a softer, more biomorphic imagery into my work, forms and shapes that reference our natural world and our place in it. I'm always experimenting with new ideas and methods but bright, clear, saturated color will always be a primary drive.

contact

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exhibitions