Easton Miller

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    Fresh, 2014, Acrylic paint on birch panel, 10 × 8 in
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    Abstraction Comes From Language, 2015, Flocking, oil paint, reindeer moss, paper on birch panel, 10 × 8 in
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    Remember To Forget, 2015, Flocking and oil paint on birch panel, 10 × 8 in
  • CES_Gallery_Easton_Miller_Dont_Threaten_Me_With_A_Good_Time_01
    Don't Threaten Me With A Good Time, 2015, Acrylic paint, flocking, and oil paint on birch panel, 10 × 8 in
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    There's History Between Us, 2014, Acrylic paint, carpenter tacks, conte pencil, gouache, laser cut pine, iron oxide on birch panel, 10 × 8 in
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    Peaks and Valleys, 2014, Natural fiber rope, oil paint on birch panel, 10 × 8 in
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    Keep On Keepin' On, 2015, Acrylic, casein, flocking, oil, pond sealant, and varnish on birch panel, 64 × 53 in
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    Less Than Not Enough, 2015, Acrylic paint, flocking, and oil paint on birch panel, 20 × 16 in
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    The Interwebs, 2015, Acrylic paint, holographic lenses, patterned duck tape, oil paint on birch panel, 34 × 30 in
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  • CES_Gallery_Easton_Miller_That_Girl_Is_Poison_01
    That Girl Is Poison, 2014, Acrylic paint, enamel, and oil paint on birch panel, 60 × 48 in
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    Without U There Is No Us, 2015, Acrylic paint, flocking, and oil paint on birch panel, 24 × 18 in
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    Sophisticated Enough, 2015, Acrylic paint, flocking, and oil paint on birch panel, 48 × 36 in
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    So Rugged, 2015, Acrylic paint, faux shearling, indigo dye, leather natural fiber rope, oil paint, and upholstery tacks on birch panel, 53 × 42 in
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    Mind's Eye, 2015, Acrylic paint and oil paint on birch panel, 48 × 36 in
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    Good Busy Though, 2013, Acrylic paint, colored wire, gold leaf, 24K gold pigment, indigo dye, oil paint, and plastic screen on birch panel, 60 × 48 in
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I’m Already Dead In Dog Years

July 25 – September 12, 2015

View Available Work

CES Gallery is pleased to present I’m Already Dead In Dog Years, a series of new paintings by Los Angeles based artist Easton A. Miller. By fully embracing that we exist in an ever-expanding digital era, Miller’s new body of work addresses the notion that physically engaging with the world often provides opportunities to experience a more capacitous perspective on life than a digitally curated reality would afford us.

Miller turns the quotidian into paintings. He carries with him at all times a small notebook, and in it he makes notes of what he hears during his daily travels; be it a disturbing quote or an amusing anecdote. These notes become the basis for contemplation and a way of rethinking how people engage with or respond to their environment, creating physical manifestations of thought. He refers to the work as “Portraits of Circumstance,” and the size of the work is most frequently determined by the most typical scale of a photographic portrait (8″ x 10”). When work strays from this standardized format, the scale shifts to reflect a direct relationship with that of the human body.

The heavy impasto surfaces lend a visceral and tactile quality, while the incorporated everyday materials, objects or patterns reference connections with his archived quotes. Each piece is completely unique from the next, with great care taken to personalize each experience and daily observation, further emphasizing the individuality of its secret, unknown subjects. However, the result is far removed from the original experience and disconnected from their origins. By doing so, the work responds to the separations that occur each time personal data is shared in social media platforms or when moments get lost in a long scrolling image feed.

Through his rigorous and conceptual process, Miller asks the viewer to reconsider their role in public space, be it physical or virtual. The result is pure abstraction, desirous to communicate on a human level.

Easton Miller obtained his BFA from the School of the Art Institute of Chicago with a double major in fine arts and art history. While attending SAIC he received the presidential merit scholarship. Miller’s work has been published in Daily Serving, Nylon Magazine and the Huffington Post.