25th March - 23rd April 2011
Gerold Miller addresses questions on representativeness in the limits of sculpture, three-dimensional objects, defined wall areas and sculptural-pictorial defined space as an image carrier. His wall-objects cannot clearly be related to traditional genres as they oscillate between characteristics of the picture, the relief, the sculpture and architecture. They formulate a new term of representativeness, which disregards conventional definitions and primarily understands the complex of a picture as space.
Miller’s works originate from an irreducible commitment of form and color. Without references, his works are neither an allusion nor do they activate any associations. Nevertheless?, they address questions on representativeness. They achieve the criteria in a conceptual sense, which already understands the idea as creation. The viewer only gets the ‘frameworks’ and nothing concrete that could help him in finding the image conception.
As ‘image producers’, artists take on an essential role in the multiplication of visual culture. Gerold Miller started out with his most current work series total object and instant vision, which negate this function subtly. They deny any single-layered interpretation and it is in its directness plurivalent. Despite its function as an artistic element, it eludes itself ostentatiously from any connotation that would exceed its self-reference. As a purely visual object barrier, they stand for the demonstrative denial of the overdose of information and to have to add something new. They lead to the vanguard demand of progress to a radical end point. The chromed aluminium that is used for these work series reflects in contrast the opulence of sensory stimulus that the recipient is constantly confronted with. The seemingly immaterial material intensifies through its surface the effect of colors and light. Total object and instant vision superpose therefore the denial of the picture with an absolute representativeness, and the unsubstantial character with content.
The serial character of these two work groups reflects the industrial production methods as well as deeply positioned social processes whilst its frontal arrangements conform the tendency of a surface aesthetics of our visual culture. The perfect surfaces reflect random pictures and fragments of the daily overload of pictures which cannot and do not want to be influenced by the artist. Equal to TV and advertisement, they show a reduced extract of the complex reality.
The representativeness of Gerold Miller’s total objects and instant visions operate on a high level of abstraction whilst inviting the viewer to interact, too. The viewer gains a possibility to take part in a creative moment as well the responsibility. This performative aspect stands in conflict to the conventional theories of the image. The works oscillate between object and image, abstraction and reality, minimal and pop. Through the simultaneity of different layers, they achieve an absolute presence.