ART
In Conversation with Harland Miller hosted by Tim Marlow
A Fruition on Harland Miller’s Artistic Journey and the Essence of Language
BY VANESA KRIZONYTE
Harland Miller Exhibition at York Art Gallery. Photo by Olivia Hemingway.
In objectifying terms, Harland Miller’s paintings exist as bespoke book covers and resonate with the sound of language. For those not tied to literature, bonding with a book design may be distant. Yet Miller’s selective use of words and distinctive painting style has universally invited literature into contemporary art conversations.
In the bustling grandeur of London King’s Cross train station, a tall silhouette brushed past: thick golden hair, eyes shadowed by tinted glasses, a tailored jacket and paint-splattered cowboy boots. When we speak of artists, we often envision a captivating aura with a strong, vibrant identity. Observing Miller navigate through the crowd, he stood out with a presence marked by bodily rhythm, radiating energy, and a mysterious persona. Through the collision of our times, we spoke with Miller about the London weather and our personal histories of York, feeling an abundance of cultural richness and warmth. Boarding the train to reunite at the York Art Gallery for an insightful talk with Tim Marlow.
With glasses of prosecco in hand and Harland Miller’s paintings shimmering through the surface of the effervescent bubbles, we mingled with the guests. The room buzzed with art collectors sharing their enthusiastic experiences of displaying Miller’s work, their love for literature, Yorkshire, and even Miller’s hairdresser reminiscing about their early days together:
“I have been supporting his journey from the start, and it is gratifying to see him elevate these spaces in York.”
The gallery talk commenced with the familiar story of childhood aspirations. Like many artists, Miller’s early ambitions encapsulated a bucket list with the word art. What distinguishes his journey is the early and profound connection to his artistic source of inspiration: books.
Tim Marlow: Is your practice painting words or images?
Harland Miller: I like the song lyrics more than the song itself. I appeal to the Freudian play of language.
My dad used to collect books and always dreamed of finding first editions. He would purchase £5 boxes—the size of a washing machine box—and, at age 9, I would organise the books.
While in Paris, I ran out of books to paint, and when I purchased British books, I found Penguin book covers. When painting the title, I didn’t know what to write—almost in an Ernest Hemingway style.
Harland Miller Exhibition at York Art Gallery. Photo by Olivia Hemingway.
TM: Are you distilled between words and imagery? Is there an impulse to distill?
HM: I wanted to use less language to see if people can identify with it and use a word that can embody an aspect of their life.
Standing in front of the “FIX” and “SIN” paintings, I felt the weight and clarity of Miller’s vision. The work struck a nerve. The rich and vibrant backgrounds evoked sunny holiday destinations—strangely comforting as the bold typography cut close to the bone. They spoke to imperfection, redemption, and self-help culture. The paradox of word selections and vibrant paint application draw humour and humanity.
Harland Miller, Fix & Sin paintings, 2022, Oil and Watercolour on Paper, York Art Gallery. Photographed by KRIZONE.
TM: How do you see your artwork with other artists?
HM: I’m 61, beating Hemingway-he shot himself.
I see my work as part of my memory.
The social positioning of Harland Miller has been as a comedic artist, witty and playful with his language. One who infuses writers’ history and their powers of uniting words to trap us in his canvases. In essence, one does not require an art background or taste for art to be entertained by his artwork titles.
After echoes of deep-rooted laughter in the gallery room, the talk shifted to an audience Q&A…
Public: How did you navigate album cover design proposals?
HM: The first ELLE magazine printed my phone number! They contacted me to design an album sleeve and fly abroad.
I responded, “I’m pretty busy next week, but I can come tomorrow.”
{Audience laughs)
When I found out my girlfriend had a new boyfriend, I broke all his vinyl and the good thing about the ELLE trip is I didn’t need to hover over the broken vinyls.
Public: What inspired the artwork Narcissist Seeks Similar?
HM: I once saw an advert for a folding bed for guests and others. It was never used.
(Audience laughs)
In the studio, many titles are never used. They may sound good, but they do not look good.
The Narcissist title was first displayed at the York Art Gallery.
The Miller-infused day revealed his intentions to create a meaningful exchange between literature and art. His works speak volumes on their own. The following is not only for the works but also for the nourishing artist’s aura. To invest in his paintings is to engage in a humorous, literary, and emotionally rich worldview. It is not simply about the paint application but the language presence behind it.
In Conversation with Harland Miller, hosted by Tim Marlow, York Art Gallery, 14 May 2025. Photographed by KRIZONE.
Fundraiser: In Conversation with Harland Miller, Hosted by Tim Marlow – Wed 14 May 2025
Deepest gratitude to Harland Miller’s creative mind. Thank you to York Art Gallery for the XXX exhibition display. Thank you to Amy Cope for providing Press Access and Publication Approval.
Links:
https://www.yorkmuseumstrust.org.uk/whats-on/events/fundraiser-in-conversation-with-harland-miller/
