Gwenneth Miller

Gwenneth Miller

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Bio

Born in 1062, Miller did a BA in Fine Arts in the 1980s, during which time she was immersed in the philosophy of the Neo-Romantics. After a few years of teaching on secondary level, she was appointed as lecturer at Potchefstroom at 27. Her Masters research at UP during the 1990s focussed on sublime aesthetics and the resurgence of ecological ethics. Miller was appointed as art lecturer at Unisa in 1997 and initiated several local and African collaborative projects. Working primarily in inks or oil paint Miller also experimented with digital processes and has since completed her Doctorate at Unisa (2015) in practice-led research on intermediality. Her art often explores the reciprocity between people, and objects of mediation. She has been the recipient of various awards: Gregoire Boonzaaier Prize for Painting as student (1983 & 1984), FNB Gold Award: the collaborative project the Journey to Freedom narratives (2004), UNISA Woman of the Year Nominee: for leadership and mentorship roles in relation to Women-in-the-Workplace (2007) and a UNISA Women-in-research Award (2012). Unisa also awarded her the meritorious Robin Aldwinckle bursary.

Miller participated in over 170 exhibitions and projects, both nationally and internationally. She is represented in private and public collections such as Absa, Telkom, Centurion City Council, UNISA, SAHMS, SASOL, NWU and Pretoria Art Museum.
Artist’s statement:
Digital works and ink drawings in this series explore mushrooms, but more specifically, pensively explore a sense of their hidden life. Whilst the works look at the fruiting body of fungi, the tone and layering explore mechanisms that hint at the body of the mycelial layers that form part of a world that we, for the most, do not see and know little about. The mycelial mesh is a massive entangled world beneath us, surrounding us – some even living within us. Intrigued by Merlin Sheldrake’s sensuous descriptions of a hidden world where living matter becomes transformed by a species neither animal nor plant, the artist consider fungi and mycelia to be a metaphor for striving to connect to the inaudible, the in-between, the rich alchemy of chemical flow. On a personal level the works are about thinking how life continues beyond trauma and how the complex biology of our own emotional being are as hidden as fungi’s energy. The tracing of lines of gills and their twists and spills, echoes the folds of our synapses where memory is buried in our cells.

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