:: Q&A :: Max Miller
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Q: I’ve noticed your creation process has a lot to do with reality, at the same time a touch of fantasy and the imaginary. Can you tell us more about it ?
A: I’ve always been interested in the fantastic, and the mysteries that exist just below the surface. I think that that is what I have always tried to represent with my work. For so long I felt like a satellite around somekind of ‘truth’ that I kept missing. Recently as I’ve begun to add metaphysical and more supernatural elements into my work I’ve felt like I’ve begun to get closer to what it is I’m looking for. This stems naturally from my interest in creating a subjective reality.
Q: Based on your background, it’s clear art has always been part of life.When did you realize art was the center piece of your life and not only part of it?
A: I don’t think there was a moment of realization. As far as I can remember I always knew that I would be an artist when I grew up. I didn’t know what form that would take or what kind of art I would make, but I was lucky to have a supportive family that only helped me get where I wanted to go.Being that most of my family members were involved in the arts in one way or another it has always been a central part of my life.
Q: What has been the most important thing in your career as an artist?
A: It’s hard to say, I think that my interest in a general, and broad scope of things in literature and science has always led me to seek out different avenues to express myself. There was a moment a few years ago where it seemed that all of my various interests gelled into one focused thrust, almost like a bunch of strings being braided together. That was probably the most crucial part of my career as I had been disparaging the artist’s life for a quite awhile before that, and as of that moment I became more comfortable.
Q: What has been the most difficult part of being an artist?
A: Saying that I’m an artist. When I tell most people what I do they look at me as if I’m a bum or a bit of dirt on their shoe. I’m not certain where the initial derision comes from, but when they see my work they usually change their tone. For awhile I told people that I was a painter, this inevitably led to the question, “Oh, do you paint houses?”
Q: What’s the most important fact at the present stage of your career?
A: I think a consistent, dedicated work schedule will always be the most important factor in the creation of my work. I try to work between six and ten hours a day in the studio, every day, unless I have to go out of town. It’s important for me that my studio is separate from where I live so that when I’m there I can focus solely on creating work. This only works if you’re happy and comfortable with what you do though, or if have crushing commission deadlines.
Q: What do you think matters the most for an artist living in the XXI century?
A: I think that promoting yourself on the internet in as many ways possible is an amazing avenue that has not been previously available to artists. So many people experience my work first online, and then perhaps make it to a show after that to see the work in person. I don’t even know how many commissions I’ve gotten just from people seeing my website. An artist’s website is an invaluable tool.
Q: How do you see abstract paintings? Have you ever considered developing an abstract body of work?
A: This is an idea I’ve wrestled with since I started seriously creating work. I think abstract work can be beautiful and it can be disgusting, just like realist work. The difference is that I see abstract work like modernist instrumental music/jazz, or poetry, it isn’t held to as many hard rules or standards as realist work sometimes can. In that way it can sometimes be more emotion driven and it can also appeal to a larger audience in that it does not demand as much from the viewer, and it can be viewed as ’safe.’ I don’t think I’ll ever go fully abstract as I might be disappointed with myself if I did, but recently I have started to incorporate abstract elements into the outlying edges of my paintings and I’ve been pleased with the action and expression in that marginal area.
Q: Could you name your top 5 artists?
A: Jusepe Ribera, Egon Shiele, Phil Hale, Diego Velazquez, Giovanni Battista Tiepolo.
Q: What’s more difficult, dealing with the business part of being an artist or managing insights, turning projects and ideas into art?
A: Turning projects into art is as simple as breathing for me. At this point I have such a simple structure for how I work that it almost becomes meditative, though of course I hit snags every once in awhile. Managing the business of my art making is another story though. I think many artists, including myself, are put off of handling the business side because we’re told when we’re young “Oh, you’re so right-brained, you make your art, you just don’t have a head for business.” And this sinks in and then people find that the IRS is looking for them for all the tax they haven’t paid for twenty years. Once I started seriously making work and selling it I found that had to handle the business side to, and as soon as I really looked at, it became easier, it’s just a matter of focusing down on it and not being afraid.
A: I have three goals, to be truly happy with the work I make (I don’t think this is possible, but it keeps me going), for people to respond to the things I include in my work the same way that I do, and to be comfortable enough financially as an artist that I don’t have to skimp on food so I can buy materials (luckily this is already changing).
Q: What advice would you give to those artists that sometimes don’t know how to tread the unstable beginning of their careers?
A: I think the most important thing is to get your work out there as much as possible, don’t worry about selling things for huge amounts of money. You may feel like you deserve it for all the work you put into your art, but no one else may know that yet. You have to build confidence in your work and yourself and the only way to do that is to show your work whenever and wherever possible.
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