The sculptures, presented in collaboration with sound artist, Craig Scott, in Two Women
consist of two human hair wigs, individually wrapped around a pair of antique children’s boxing gloves with a cow bell of different pitches nestled in each palm. The hair is coated in pigment (blood and bone flour) and hangs off delicate rusted chains. They will each occupy a window pane and hang from the ceiling. Two motors will gently rock them side to side making the bells ring and pigment swiftly fall into a two dishes laid out on the floor. Passers by will be able to hear the bells if they press their ear against the glass.
These sculptures are the result of Miller wearing wigs in performances to embody different female archetypes, whilst enacting sequences of minor gestures to highlight and overcome invisible violence imposed on women and ideas of violence and recovery in relation to the female body.
THIRD WOMAN ENTERS
Performance by Hollie Miller
May 4th 2pm-4pm
The sculptural installation will be activated in a two-hour durational performance by Miller, as she joins the two women and inhabits the window with another performance relic. Yielding meter after meter of ribbon cloaked in pigment she entangles herself within her own web to become affected by its residue.
This cinematic performance seeks to critique the capitalist portrayal of women by the fashion industries. Through disrupting the traditional space shop window mannequins occupy as objects for consumer culture.
Hollie Miller is a visual artist working with performance in live and recorded contexts. Her corporeal works are site-specific, intimate and time-based, exploring ephemerality in the digital age. In placing emphasis on recording live performances, Miller suggests that our everyday actions never cease and can be crystallized through the digital as ‘living fossils’. In her performances, Miller activates sculptural objects installed in the gallery space. These charged artefacts exist beyond the live moment where her affect has left residue.
photos - Yuichiro Noda
Using her own body as a vessel of transgression and subversion, Miller’s work is informed by the history of women’s self-representation. Her artworks employ the language of cinema to critique and disrupt the capitalist portrayal of women by the commercial industries. She is particularly interested in vulnerability as a form of resistance and how this engenders our capacity for empathy in relation to the other. In her work
Miller embodies the ‘minor gesture’ with poetic sensibility to highlight and overcome invisible violence on women.
When working within the natural environment, Miller often applies organic materials such as mud, onto her body as emblems of freedom that corrupt the surface of her skin. This physical change draws attention to her identity and sexuality via her actions and presence. By placing her body within the landscape, both interrupting and merging with the land, she surrenders to the earth as mother and/ or lover. Creating a dynamic between the physical and the metaphysical she uses performance as a tool for transformation and female ascension.
photos - Yuichiro Noda
Hollie Miller (b. 1988, UK) holds an MA in Fine Art Performance from The Royal College of Art (2016) and initial conservatoire training in dance and somatic practice (2007-10). Her work has been presented nationally and internationally in contemporary art museums and galleries.
Notable performances/ exhibitions include: La Ira de Dios, Argentina (2018); Alps Art Academy, Switzerland (2018); Baltic 39 Gallery, Newcastle (2017); Spiral Wacoal Art Center, Tokyo (2016); Uppsala Konstmuseum, Sweden (2016); Lychee One Gallery, London (2016); Galeria Labirynt, Poland (2015).