For minimal art, criticisms usually surround the topic of shallowness, laissez-faire, as well as the depletion of ideas. Artistic dialogues then become tools to disregard formal arts in the contemporary world. However, for many artists such as Gerold Miller, legacy and consistency is a way to combat dismissive notions.
Born in Altshausen and now based in Berlin, Germany, Gerold Miller is known for sharp edges in his creations, with geometric forms that create tonal difference on surfaces. His sculptural paintings act more as objets d’art rather than decorative canvas for spaces. With a signature of high-gloss car lacquer imposed on his work, the arts become a reflective agent that transforms space while remaining a modest composure on blank walls. The idea of spatial transformation is also echoed in the scale of Miller’s work, where they merge with respective platforms to become the platforms themselves. The negotiations of two surfaces give a visual depth and effects that go beyond monochromatic blocks.
In a way, Miller’s signature of high tech materials that originate in industrial production, as Art Basel presented, resonates with his background in terms of creating. The Bauhaus style, with simple geometries and basic colours, is strongly present in his work, only to be broken by his own rules to produce more fitting visualities for contemporary contexts. Gerold Miller’s work cannot be viewed individualistically; they are a collective vision, where his career is laid bare, minimal, and wholesome on a timeline of artistic practice.