Visual Geometry
Artist Miik Green describes his work as both reflexive and reactive, mirroring his family background in mathematics.
In partnership with LINTON & KAY GALLERIES • Interview ELIZABETH CLARKE • Imagery JODY D’ARCY
"I view each painting as an experiment rather than anything calculated, and that’s the way I prefer it." —Miik Green, WA Artist
Describe your childhood. I moved from Albany, Western Australia, to Canada when my father decided to study to be a reverend. My three sisters and I travelled the world twice – we each got to pick a country to visit. When we arrived back in Australia, I was awarded a scholarship to Kalamunda Senior High School for the gifted and talented program. It was called ‘Special Art’, and is one reason I still think I’m special.
How would you describe your work being seen for the first time? It’s work you need to see in person. Screen and print don’t do justice to the depth and reflective (and reflexive) qualities of the glossy surfaces. When you stand in front of these works, your image and the image of those around you wax and wane; you’re part of it. Often the paintings appear like landscapes viewed from above, alternate seascapes, or contain a gradient of sunrises or sunsets.
How have your life experiences influenced your aesthetic style? Completing a PhD had the biggest impact on my work. I completed my written work in 2014, following years of integrating my own practice, researching the field and also rationalising the ideas behind my sculptural works and paintings. During this time, I not only had to consider my work (studio and academic) from various perspectives but also the philosophy that underpinned my making and processes. If I could go back and do it all again, I would.
What materials do you use to create your art? I use a mix of resins, chemicals and pigments. These combinations often dictate what happens in the surface, whether a blending of opposing colours or highlights containing pigments that delineate. I’m also always looking for new materials and substances that allow the reactions I’m searching for.
What is the process of creating your art? I pour sections of colour onto large panels of aluminium and inject them back into the artwork. This process sets up a material reaction, and the outcome of the process forms the work. Once the resin sets, the forms in the painting are sealed in motion. I open the studio doors 48 hours later to view the results. It’s always surprising that a pinpoint injection can become a tennis-ball sized bloom.
How have you built trust in your process? I trust that I’ll always be surprised with the results. I view each painting as an experiment rather than anything calculated, and that’s the way I prefer it. There are certainly elements of the process that require planning and design, but the outcome of that more deliberate stage changes each time.
Which stage of creating artwork do you spend the most time on? I spend a lot of time planning, specifically for in-situ sculptures. A few years ago, for example, when the Ritz-Carlton [hotel] was still in the project phase, I was commissioned to create a series of wall-based works for their restaurant on level 1. Most of the time spent on that project was figuring out how my pieces would present in the environment and react within that space. I love workshopping ideas, discussing new possibilities of traditional materials with fabricators and experimenting with new methods and ways of making.
Your work feels intuitive, not forced. Yes, I’m interested in the organic nature of the work. I start the process and the work emerges of its own accord. I rarely enter the studio with a pre-planned approach; it’s about the journey, not the destination! My role as the artist is to allow and enable the process, not control it if I can help it. In a way, this manner of making frees me up to enjoy the result as a bystander.
"I learn that I’m never truly in control of the result, and that each work is a step in a different direction." —Miik Green, WA Artist
What did you have to develop, try or learn to create your unique style of artwork? I’ve carried out a lot of testing over the years and the goal was to create things that always looked fresh, evolving. There’s a great Frank Stella quote along the lines of ‘trying to create something that looks as good as it does in the can’. I read this as Stella trying to recreate the experience of, say, popping a fresh tin of paint and catching that first glimpse of glossy pigment. Resin traps the movement and evolution of the colours in my works, and testing various surfaces and epoxies over the years has led to the current series of works.
You are inspired by the microscopic aspects of nature and cross-disciplinary artistic collaborations that integrate science, mathematics, chemistry, biology and physics. Where does this interest stem from? Having a parent who was a maths teacher ruined mathematics for me early on (thanks, mum), yet I persisted in later life and embraced at least the visual side of mathematics. The recurring forms in the microscopic of fractals, diatoms and pollens have always been a source of inspiration for my work. The further you delve into these forms, the more you realise there is a boundless visual geometry. My role became about bringing these forms to life, not by recreating them but by finding ways to allow their emergence. I agree with art historian James Elkins, who likens art and science to a drunken conversation between the two.
Do you learn anything once you have completed a piece? I learn that I’m never truly in control of the result, and that each work is a step in a different direction. Some paintings feel like they mimic the cosmos, others are like something you might view through a microscope. I also learn more about the works when they’re exhibited together. As a collection they tell a specific story – one I’m not often privy to while working on the pieces individually.
What colours do you like to use? As many as I can get my hands on. I’m interested in the interaction of colour and material, and I use a wide range of pigments to explore this. I also love playing around with the finishes on my works. For example, the majority of the three-dimensional works have a matte finish, so they strike up a visual relationship with the 2D pieces. I also experimented with the powdercoating process for these sculptures, with some having a two-toned, metallic pearl sheen, some I feel I got carried away completing.
What sort of reaction does your art get? People are always surprised at the depth of the works, and the way the reflective property of the work allows them to become immersed in it. You can view my work in print or online, but the experience of standing in front of the piece, of becoming a part of it, is what viewers respond to.
Tell me about our cover art, a piece from your latest show, Convergence. My work is about the resistance and opposition in materials, and this painting is a good example of this process. There is a contagious vibrancy in the work; when I had it hanging in my studio, I’d walk in and smile at its exuberance.
How do you know when a work is finished? My work is designed to be engaged with, so I think of it as being finished (or fully realised) when it is in situ, reflecting its surrounds and the various elements of the new space.
What are you working on at this time? I’m working on a new set of large paintings that will be shown at Holly Hunt [design studios] in Miami and New York in late November. I’m also planning on a trip to Chicago to meet the Holly Hunt design team and talk possibilities and projects!
Linton & Kay Galleries
Subiaco | Cottesloe | West Perth | Margaret River
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