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UNTITLED MIRROR COLLECTION


UNTITLED MIRROR COLLECTION SAM ORLANDO MILLER


SAM ORLANDO MILLER

b o r n l o n d o n, 1 9 6 6. sam makes sculptures, objects a n d d r aw i n g s t h at a r e i n p r i vat e collections worldwide. a fine art graduate, he hs worked as creative director on architectural and interior projects for prestigious international clients. his work has taken him from mil an to mayfair, rome to dallas, berlin to brunei. sam divides his time between london and a remote house surrounded by w o o d l a n d i n l e m a r c h e , i t a l y.


i am instinctively drawn to materials that carry the beauty of time, that already have a patina that have been embellished by being in the world. other materials i choose may have long b e e n u s e d f o r a n o t h e r p u r p o s e a n d i t ’s t h e i r e v e ry day n e ss i wa n t t o u s e a n d transform. so i gather these elements together, often keeping them for years, not knowing what they might become, but feeling connected to them. then one day the idea for the work appears p e r f e c t l y c l e a r l y, y e t n o t l i t e r a l l y, i n my mind. at that moment the making can b e g i n.


G ROW I N G U P W I T H S I LV E R

s i lv e r h a s a lway s b e e n pa rt o f m y l i f e . i t i s a m at e r i a l i g r e w u p w i t h a n d s o i t f e e l s like part of me. when i look at silver so many memories emerge; of my father, his c r a f t s m e n, o f t h e i r w o r k b e n c h e s, t h e d i rt o f t h e p o l i s h i n g r o o m , t h e s pa r k l e o f a sugar bowl chased with a pattern of strawberries. silver takes up a significant part o f m y m e m o r y a n d m o s t t h i n g s a r e i n s o m e way c o n n e c t e d t o i t. a s a y o u t h i s p e n t t i m e w o r k i n g a l o n g s i d e s k i l l e d c r a f t s m e n. t w o i n pa rt i c u l a r w o r k e d w i t h g l a ss. s o t h i s recent collection of untitled mirrors is rooted to the european craftsmen i feel a deep connection with. i found a piece of mirror one day here in le marche and i picked it up because i saw t h a t t h e s i l v e r w a s c o m i n g o f f. i t w a s b e c a u s e i t w a s f a l l i n g a p a r t t h a t i n o t i c e d i t . t h e d i s i n t e g r at i o n m a d e m e m o r e awa r e o f t h e m at e r i a l b e c au s e i s aw i t i n a s tat e o f change. i didn’t think these things at the time i just felt an emotional connection to the old mirror so i put it in the workshop and left it there. s o m e t i m e l at e r h e l e n wa s p h o t o g r a p h i n g a r o o m i n o u r h o u s e , w h i c h h a s da r k wa l l s. l o o k i n g at h e r p i c t u r e s i t s t r u c k m e t h at a l l t h e l i g h t wa s b e i n g a b s o r b e d b y t h e b u i l d i n g a n d b y t h e f u r n i t u r e a n d l i t t l e wa s b e i n g r e f l e c t e d b ac k . s o i r e m e m b e r e d the piece of mirror. and the shape came to mind from some bl ack drawings of a crystal form i had made at that time. they are very dark drawings and within their b l ac k n e s s i f e lt t h e p o s s i b i l i t y o f t h e o p p o s i t e , o f l i g h t. i wa n t e d t o s e e i f t h at crystal shape would work in three dimensions. so i had the form and the material and i p u t t h e m t o g e t h e r . b u t t h e m a i n t h i n g i n m y m i n d r e a l ly wa s t o c r e at e s o m e t h i n g t h e opp osite of the drawing, the reverse, that did not absorb light and that gave energy a n d b a l a n c e t o t h e r o o m . i wa s n ’ t f o r a m o m e n t t h i n k i n g a b o u t m a k i n g s o m e t h i n g y o u c o u l d l o o k a t y o u r s e l f i n .w h a t i s e s s e n t i a l t o m e i n t h e s e w o r k s i s t h a t t h e


d i s i n t e g r at i o n o f t h e m i r r o r s u r fac e m a k e s yo u awa r e o f t h e s i lv e r . b y f i n d i n g t h at first piece of abandoned mirror i identified a material in a particular state that i felt connected to and that i could work with. most of the materials i work with tends to have such a patina. this can happen naturally or can be created. if the material h a s t o b e t r a n s f o r m e d i n o r d e r t o l e t i t s p e a k t h e n t h a t ’s w h a t i d o . b u t i n e e d t o u n d e r s t a n d w h a t h a s c r e a t e d t h e s u r f a c e t h a t d r a w s m e t o w a r d s i t . w h e t h e r i t ’s t i m e , m i s u s e o r l o v i n g c a r e , w h a t e v e r h a s h a p p e n e d t h a t m a k e s i t c o m p e l l i n g , i i d e n t i f y. b u t s o m e t i m e s n e w, u n a l t e r e d m a t e r i a l s c a n a l s o b e a n i n t e r e s t i n g c o u n t e r p o i n t . s i m p l y because they have not yet had a life. in my mind there is no hierarchy of one material over another, be it a diamond or c h a r c oa l . pa rt o f g r o w i n g u p w i t h s i lv e r m a d e m e r e a l i s e i t wa s j u s t a s u b s ta n c e t h at h a p p e n s t o b e w o n d e r f u l t o w o r k w i t h b e c a u s e o f i t ’s p h y s i c a l q u a l i t i e s , n o t i t ’s s tat u s o r w o rt h . t h e s k i l l o f w o r k i n g w i t h s i lv e r i s t h e u n d e r s ta n d i n g o f r e f l e c t i o n. when you make an object in silver you need to know how it captures the world around i t. m a k i n g t h e u n t i t l e d m i r r o r s i h av e b e e n w o r k i n g w i t h o va l s a n d fac e t s o v e r a p e r i o d of time and a dialogue has developed between me and them, between the reflective and t h e d a r k , t h e s h a d o w a n d t h e l i g h t, a n d t h e r e i s a lway s t h e c h a n c e t h at w h e n i l o o k i n t o o n e o f m y p i e c e s s o m e t h i n g u n e x p e c t e d m i g h t h a p p e n. sam orlando miller


UNTITLED MIRROR 1 2011, italy

a concave faceted hand cut patinated mirror. signed, each unique. h 23.5” x w/l 15.75” x d 1.5”


UNTITLED MIRROR 2 2011, italy

a convex faceted hand cut patinated mirror. signed, each unique. h 23.5” x w/l 15.75” x d 1”


UNTITLED MIRROR 3 2011, italy

an uncut form of patinated mirror. signed, each unique. h 20” x w/l 28.5” x d 0.25” h 23” x w/l 32” x d 0.75” h 26” x w/l 36” x d 0.75”


UNTITLED MIRROR 4 2011, italy

a faceted hand cut patinated mirror by sam orlando miller (b.1966). signed, each unique. h 14.5” x w/l 18.5” x d 1.5”


UNTITLED MIRROR 5 2012, italy

patinated glass in ten shades from silver to emerald green by sam orlando miller (b.1966). signed. h 21.75” x w/l 31.5” x d 1.5”


UNTITLED MIRROR 7 2011, italy

earth cast bronze frame with inset hand cut emerald mirror. signed, each unique. edition of 6 h 23.5” x w/l 15.75” x d 2”


UNTITLED MIRROR 8, OLIVE GREEN 2011, italy

hand cut olive green patinated mirror and steel with drawing. each unique. h 18” x w/l 48” x d 2”


UNTITLED MIRROR 8, CHESTNUT BROWN 2011, italy

hand cut schestnut brown patinated mirror and steel with drawing. each unique. h 23.5” x w/l 15.75” x d 2”


d r a w i n g o n f r o n t : u n t i t l e d p a i n t i n g 6 . 2 0 0 6 . c l a y, g o u a c h e a n d graphite on paper drawing page 4: mind drawing 3. 2009. ink on paper drawing page 6: untitled drawing 1 detail. 2009. charcoal, graphite and pastel on paper

H E D G E 501 pacific avenue san francisco, ca 94133 h : tuesday - friday 11-6 saturday 11-5 W W W. H E D G E G A L L E R Y.C O M

photographs copyright helen miller


Sam Orlando Miller // Untitled Mirror Collection  

A showcase of Sam Orlando Miller's Untitled MIrror Collection.

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