What do Peppers Know About Dying, is a series of diptychs that uses portraits of dying plants as a metaphor for finding beauty beyond the classic idea of physical appearance. The images were… What do Peppers Know About Dying, is a series of diptychs that uses portraits of dying plants as a metaphor for finding beauty beyond the classic idea of physical appearance. The images were photographed in two locations, the coastline of Port Angeles, WA (2022) and on my concrete walkway in Scottsdale, AZ (2024). I was drawn to the form, shape, and color of all the natural objects and realized the images from the opposing environments danced together. As the process came together, another meaning behind the images slowly emerged as a last breath, they reflected where I am in the process of aging, a portrait of the loss of youth, strength, energy but not losing the inner beauty of true self. This truly excited me and the diptychs on a natural substrate was important in keeping with natural elements, coupled with the gesso print process as it reflects my youth painting with oils.
Fine art photographer Nancy Miiller grew up in Rhode Island and began her artistic endeavors early. From painting at age nine to three studies of concentration at Rhode Island College (graphic design, painting, and photography), she grew to love all things creative. I grew up in Rhode Island, in a…Fine art photographer Nancy Miiller grew up in Rhode Island and began her artistic endeavors early. From painting at age nine to three studies of concentration at Rhode Island College (graphic design, painting, and photography), she grew to love all things creative. I grew up in Rhode Island, in a city historically known for textile mills with a large population of French Canadians. It was a place where you could hear people speaking both English and French no matter where you went. In our neighborhood community we had a YWCA, and that is where I learned to oil paint; I was nine years old. I just loved it and continued at the YWCA classes until college. During these years, I entered competitions, neighbors asked for a painting and even got featured in the local newspaper. During my years at Rhode Island College, I concentrated in three areas: graphic design, photography and painting, as part of my degree. My photographic work focused on landscapes and daily life at home. I loved the ocean and found close-up work of seaweed captivating and inspirational. After graduating and moving to Boston, I found a job as a graphic designer. Over time, I moved west to Arizona and continued my career. But I missed working on my own art, the fine art aspects and so I returned to my love of photography to develop my talents further. I studied with mentors to hone my style to where I am today but still love evolving. In my life, I am captivated by the question of “Why do we see, what we see?” The idea of perceived perception is a thread through my work; capturing and/or creating what our eyes do not see. I use manmade objects and the natural world as subject matter, to create images that challenge the viewer’s own perceptions, begging the question, “Is that real?” I have exhibited my work in solo and juried group exhibitions in galleries throughout the United States. Galleries include, FotoNostrum, Barcelona, Spain, Mayo Clinic, Central Gallery of Phoenix, Art Intersection, Found:Re, AZ, A Smith Gallery, TX and Light Art Space, NM. Honorable mention awards include the 24th and 18th Julia Margaret Cameron Award for Women, and the ND Awards. Published work includes: the August 2023 Special Issue of Black & White Magazine Merit Award, and the October 2021 issue of LensWork. My fine art prints are also held in private collections.
