Laura Linda Miller Artist Statement
I believe in immediacy. In painting and sculpture, I move in a forward in process. Art, like time, can not be undone or repeated. Digitally, I loop in programmed segments which can be re-played but never repeated according to the processing power of the program.
I do not believe in recording my performances. The performances is edited and adjusted to a specific time, place, and space. The projection is aligned just so. The gathering of people in space and time and experience is singular. The only way of experiencing a performance is to be there in the lived moment. It is not something to be preserved beyond the present state, but something to be iterated and renewed in ritual fashion.
Ceramics are my long-term visions. A compressed data storage system. Patterns repeat but are not duplicated. I strive to compose live-able objects. Objects for tomorrow without lead or poison. Informed by histories, their existence is made possible through digestion.
There is no cautious rate. I do work here and now to survive. To mend feral holes caused by life lived without valuing life in of itself, more than pleasure this joy is in flesh over sticks, and the gravity of feeling everything is as it is until it will not be. Physics is comfort. Handed down to me from my mother and my mother’s mother’s mother’s mother. And this is why: eggs. Half pieces are kernels of progression, building blocks or little urchin spine witnessing the sinking of the RMS Lusitania only to drift into some vacationer’s heel.
Diving fast winning a small chortle and snort for falling over. Precariousness being one of the few babylonian cuneiforms translated universally hanging above the three gorges, the two gorges, the little dog eats she gorges. Don’t look now but there is poop on his shoe, nevermind the leather is gorgeous. Grape arbors meticulous crawling both the indirect and direct routes influence more than woven oil filled planes. Harboring hope of one day becoming mayor, despite that implying the decrease in the edibility of my life’s work. I hid food poisoning in there somewhere but it is just a symbol of it and not the real thing so we are safe.
Believe for the best not wishing to know, only to incidentally relate to, the goings on in the minds of the acres of the people that line each others sides stocked down hallways up the capillaries of the of banded grids. This is the native breeding ground of PowerPoint. Then gentle motion sickness until the vitreous humour wears away in the small moments when all was same as it was and will be. Or perhaps clip art has gained religious fervor trimming corners off parallelograms. But there really is no thing without light.
Seducing with base desires for communication, quick fiendish, accuracy. Directed, yet linguine birthing idea replication. Making thoughts mirror across disparate individuals lead smaller voyages into tabula rasa. Tabula rasa the downfall of all patterns oldest language longest tongue. This is my long curse against that theory. Sincerely, formalist in the known struggle between a tight and slippy knot.
To perform is to enter a state beyond self, interpolated within a cuticle, the divide between skin and nail. As a performer, I am an elevator. It is an effort of cargo, to use sound and motion to transport a live group of bodies up and down. I use the tools of academia and business to make sticky surfaces upon dry footpaths. We must not forget that the origin of the corporation began with a mission of transcendence. The travel of assets through time is pulled through contractual letters snaring living limbs. It is to push matter temporarily out of the grasp of entropic forces.
I create work using Microsoft PowerPoint because it is one the most powerful and ubiquitous business tools in the world. PowerPoint enables people to quickly make digital slide presentations. Forced division of images is based on the antiquated slide projector system logic, that passed focused light through a photographic transparency. Through helpful pre-set tools, PowerPoint has invented and transformed business, politic, military, and scientific worlds to confirm to its unique logic. Quick transitions and half explained points allow audiences to more readily accept concepts without challenge. The momentum of the PowerPoint presses for acceptance and boredom. Boredom is an accepted companion to the classical PowerPoint – enabling uncomfortable truths, urgent messages, or inane ramblings to be equally absorbed by glassy eyes and drooling mouths.
I investigate ceramic materials with historical viscosity. Mixing ancient, digital, and newly discovered techniques– my mission is to move ceramics from the periphery to the center of contemporary art dialog. Balancing measured, ordered precision with chaotic composition and patterning, I explore the limits of feasibly in fusing silica.
It is to be noted that everything described going forwards, happened in a slightly warmer environment than that currently experienced
Through repetition it happens. A small pea-sized distance separated toe from the water, enough to make a left foot, matching smooth right. As if the difference between two two protein structures one curative, the other carcinogenic. All water, given a certain volume, is tonic water. Supplications from across the long-drowned body. A simple wish, to be remembered. It happened unconnected, except through evaporation, from an accident. A thick peppered beard by now, potential. A simple wish, to be remembered. Through repetition it happens.
Hearing an unidentifiable friction between a hard object and an organic one, such as happens with the application and removal of weight between leather and dried leaves, remove the water as a near approximation of a potential destination. Supplying forearms lift body upwards and backwards. Folding legs under self with force was to shift upwards