Horizon II 

Curator: Welcome! Today, we’re considering "Horizon II" by John Miller, an acrylic on canvas piece evoking abstract expressionism. What's your initial reaction? Editor: I'm immediately struck by the flatness of the paint and that distinct horizon line; it's simultaneously calming and unsettling. It feels a little bit like looking at a Rothko through Instagram’s limited color palettes. Curator: The application is clearly important here. The materials declare themselves boldly. Look at the layers and the horizontality. Miller's choices in using acrylic paint result in an extraordinary evenness, rejecting overt expressiveness, which we usually see in abstract expressionism. It pushes back against the fetishization of the artist's touch, shifting our focus towards the material itself and perhaps its very manufactured-ness. Editor: Right, and that choice feels so relevant! We have this digital effect through analog means. And the subject matter - the horizon - this space in between here and there… who gets to experience that? Whose horizons are limited? I wonder how issues of geographical and social boundaries shaped this work and John Miller’s understanding of place. Curator: That's interesting to consider in terms of physical space and social strata, yes. But also note the labor of the layering. Each level builds upon the previous, showing that process matters, whether or not we can ‘see’ the work involved at first glance. This painting’s repetitive action, and its implied time spent layering color, becomes the labor the artist seems to examine as well as perform. Editor: Yes! The subtle graduations! This invites us to see this painting not as a finished object, but the material act of repetitive construction – of slowly making. If we also connect it to debates about industrialization at the time of production – is this supposed ‘sunset’ natural, or synthetic? Are we looking at an allegory for progress, and who profits? Curator: Very compelling questions! This really exemplifies color field painting by eliminating the idea of gestural brushstrokes. There’s also an interplay of line, but line expressed in color—which calls our attention to production rather than a singular creative ego. Editor: Absolutely. By eliminating overt gestures, Miller opens up a dialogue around perception and experience in late capitalism, which is no doubt as complex as the number of acrylic paint layers on this canvas. Curator: Precisely. It becomes a testament to both the potentials and limitations of material expression. Editor: Thank you for guiding us to experience and explore "Horizon II" on deeper levels. It certainly gives food for thought.