Yellowstone Art Museum
Inside/Out: The World of Sheila Miles
The Yellowstone Art Museum is pleased to present "Inside/Out: The World of Sheila Miles" which runs through September 24, 2000. Miles uses metaphorical sensations of the environment, frequently the landscape, to pull the viewer emotionally into a painting. Seasons, time of day, and storms all show a range of moods including elation, melancholy, or the more complicated, bittersweet. The work might be full or empty with nuances of gesture, love, and pain. (left: Tree Slide, 1984, tempera on paper, Yellowstone Art Museum permanent collection 1993.123-US)
Sheila Miles moved from New York City to Laurel, Montana, when she was 26 years old. Her studio was the front entry of a 75-year-old farmhouse. Confined to a 7' X 10' work space, she was limited to doing small paintings. That is until spring came! Then she did paintings of burning ditches, cows, chickens, geese, and compost piles. She also taught part-time at Eastern Montana College. In 1983, Sheila and her family moved to Miles City, Montana, and she became an artist-in-residence at the Custer County Art Center. It was in Miles City that her imagery changed, reflecting news stories that she listened to while she worked. She painted houses swept away in floods, a girl lost in the woods, and a black woman at the Republican Convention complaining that she felt ignored. At this time, Sheila began to do house paintings. The house became her world, surrounded by an environment that might be chaotic or beautiful. Sheila Miles has done hundreds of houses, a recurring theme spanning twenty years of work. (left: Sometimes I'm the Monkey, Sometimes I'm the Horse, 1991, flashe paint, 22 x 30 inches, Courtesy of John McAfee; right: Fat Bugs, 1998, flashe paint, 30 x 22 inches, Courtesy of the artist)
Don't miss the beautiful world of Sheila Miles. Her work will literally turn you "Inside/Out." It is both eclectic and unpredictable. Stepping out of the box, Sheila Miles uses a spectrum of styles including expressionism, realism, and abstraction.
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This page was originally published in Resource Library Magazine. Please see Resource Library's Overview section for more information. rev. 3/18/11
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