Paul Miller was born in Bathurst, New Brunswick in 1957. In 1980 he graduated with a Bachelor of Fine Arts Degree from Mount Allison University, Sackville, majoring in painting and a minor in printmaking.
Paul was the recipient of a number of awards and scholarships during his artistic education years. In 1986 he was granted a Nova Scotia Talent trust award and subsequently a scholarship to study at the Banff Center for the Arts in Banff, Alberta. In 1987 he received a postgraduate scholarship from the University of Tasmania to attend the Centre for the Arts in Hobart, Tasmania, Australia, where he graduated with a Master of Fine Arts Degree in 1989.
Paul has had numerous solo exhibitions in Sydney, Newcastle and Tasmania, as well as a very early show "The Newfoundland Suite" at the New Brunswick Museum curated by Robert Percival in 1980. His work has been featured in group exhibitions in public and private galleries in Australia, Poland, Romania, Egypt, England, Japan and Canada. His work is represented in important public and private collections in Australia, Egypt, Romania and Canada. Most recently, two of his etchings were acquired by the National Gallery, in Canberra for their permanent print collection.
Paul Miller lives and creates in Frenchs Forest, Australia.
These prints were done over several years. They are made using an etching process of putting a ground on the zinc plate and makingmarks with a sharp tool into the ground and then putting the plate into an acid solution which eats away at the exposed areas that were made by scratching into the ground.
Some of the prints use a combination of etching and aquatint which is done by placing the plate in a special box that holds a finely ground powder of resin. A wheel is moved to steer up the powder creating a fine mist which then settles on the plate. The plate is then heated on a hot plate which melts the resin, then when bit in the acid creates a tonal effect. For both straight etching and aquatint the longer the plate remains in the acid the darker both the marks and the tone will be.
These prints express a sense of containment or
boundaries. There is a fence-like structure that appears in some.
This fence is both a bearer but it is also the artist himself. There
are two UNTITLED prints at the end of the series, 1) The print is a
purple black, it looks like a bending form like wrapped wire with two
stick-like poles holding it up. 2) The other print is printed in
black ink, the image looks a bit like stone hedge. The image has a
circular appearance with light coming from the centre. In the middle
there is a mark with what looks like a crease or fold in the middle. The quality of darkness and light is an attempt to express
the spirit inside. A symbolic way of understanding the journey
These two prints where done with the assistance of Michael Kempson a major master print maker, who is both a well respect art teacher and printmaker in Australia. These two works are now part of the permanent print collection of the National Print Collection in Canberra, Australia. The other prints were editioned by the printmaker Brenda Tye.
Paul Miller, 2012