#hazelmiller

Sim dump

Millers who could find a home somewhere else. Hazel Miller (g10) Liilia Miller (g15)

Bright Torso Reflecting, Hazel Miller

This piece is one of the most spontaneous and gestural: a fluorescent, triangular shoulder and full, geometric bosom reflect in a mirror. The image in the mirror is watery and loose while the foreground figure is sharper and more opaque, creating visual depth and a range of paint handling. This is part of my women reflecting series contemplating figurative abstraction, perspective, and myself as a female artist.

Perspective No.1, Hazel Miller

This piece came out of studying my field of vision and my body in space. It is an experiment in first person point-of-view in a female body, urging the viewer to experience one female perspective. This work also plays with paint handling as a way to create atmospheric perspective; the background is much crisper and more textured than the looser, less detailed foreground. The ambiguity of the background painting/mirror/window alludes to art history, the gaze, subjective truth and the framing of vision.

Ophelia, Hazel Miller

The woman pictured is inspired by a portrait by Gerald Brockhurst from 1937. I was drawn to how mysterious and sharp the women he paints seem, and I take interest in representing/conversing with art that already exists (portrait of a portrait of a model). The framed, mirror-like color field and abstract red vase ride a surrealist line of reality/fiction. They stand as aesthetic elements and as illusionistic context in the space of raw canvas, as if the piece is made up of other pieces in this art-filled, artist-created alternative reality. *Unstretched canvas*

Diptych (Nude Turning), Hazel Miller

This piece continues my exploration of reflectivity and the female figure. The framed pastel background re-interprets the abstract figure in the foreground and acts like an alternative artistic lens, or some kind of mirror/painting within the scene. I am interested in the female body throughout art history and the body as art in itself. Furthermore, this work most exemplifies my Cubist fascinations with movement and multiple perspectives.