I first met Trent Miller when he was my seat-mate on a plane traveling to Madrid in 2003. A group of painters, all Boston University MFA painters and alumni, were planning to spend a week perusing the Prado, Reina Sofía, the Thyssen-Bornemisza collection, and the surrounding towns. During the course of the flight and the following week, Miller and I discussed common interests from poetry and the films of Tarkovsky to the great Spanish painters: Goya, Velasquez, El Greco, and Picasso. We have kept in touch sporadically over the last decade, a period in which Miller has continued to develop his highly-complex and personal vision through paintings and drawings in which the observed world and that of the imagination harmoniously coexist.
Miller’s paintings render the abstraction/observation divide irrelevant as one becomes convinced, looking at his paintings, the artist does not distinguish between the two. The two modes are equivalent, and the viewer may wander between them at will.
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.