His works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. The work tries to express this with the help of physics and technology, but not by telling a story or creating a metaphor. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he makes work that deals with the documentation of events and the question of how they can be presented. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. His works never shows the complete structure. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation. By choosing mainly formal solutions, he often creates work using creative game tactics, but these are never permissive. However, this reference is not intentional, as this kind of art is part of the collective memory.
His works are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized world. With Plato’s allegory of the cave in mind, he tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations. His photos are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in photography. This often results in an examination of both the human need for ‘conclusive’ stories and the question whether anecdotes ‘fictionalise’ history. By examining the ambiguity and origination via retakes and variations, Miller reflects on the closely related subjects of archive and memory. Alonzo Miller Miller (☁975, Edwards, United States) makes photos and photos.
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