Zelga Simone Miller, Just Passing Through, 120cmH x 96cmW x 4cmD.

Oil and charcoal on cradled wooden panel (framed in wood).

About this artwork

A work depicting a man we photographed outside Oxford train station who, amidst the chaos of commuters, stood feeding a pigeon stood out for his calm, centered energy. An opportunity to work with the Grain of the wood and use the oil paint to reveal and nourish the grain and create an ethereal, other-worldly atmosphere - a mere suggestion of the before and after. My work spans drawing, painting, and woodcut print

About this artist

Work spans drawing, painting, and woodcut print with training at Ruskin School of Art (Complete Drawing) 2017, Central St Martins (Painting), Wimbledon (UAL) & Oxford Brookes (MFA) and Turps Painting. Since graduating I have had three Solo exhibitions and exhibited in over 70 exhibitions in the USA, France, Germany, and Japan including Unit One Gallery, ING Discerning Eye, Royal Academy Summer Exhibition(s), Candida Stevens, Janet Rady Fine Art, 508 Gallery, Espacio Gallery, Society of Women Artists, Woolwich Contemporary Print Fair(s), Society of Women Artists and Menier Gallery. I was a Judge at the Woolwich Contemporary Print Fair and voted Printmakers Printer 2023. I was awarded First prize with Oxford Arts Society and I am a mentor with Koestler Trust. My work speaks of layers – of peeling back the veneer of the every day to uncover a sense of disquiet in an otherwise serene scene. My practice looks beyond the physical elegance of the line and more intensively towards the emotional vulnerability of the figure. Rooted in an archival approach, with an appreciation of the rich potential of drawing, work often begins with a figure related to childhood memories or a photograph. I use a range of media, moving between printmaking, drawing and painting, in pursuit of a balance between a sense of stillness and dynamic fluidity. Rosalind Galt’s 2011 book ‘Pretty: Film and the Decorative Image’ explores the notion that colour and decoration have been downgraded as aesthetics because they are associated with femininity and foreignness by a male-centric critical elite. Society is conditioned to look down on prettiness and avoid it if we want to be seen as serious-minded. It is fair to say that I am not interested in upholding such a critical elite.

https://www.zelgasimonemiller.com

Starting Bid £950