Watching Miller’s distinctive technique grants us greater insight into this unique process, which he developed and honed over a number of years.

Miller’s process begins with his intricate, handmade brushes.

In intricate ink drawings, Miller blueprints these brushes in his notebooks. He details the different utilities of each, including the marks they are capable of making, how and when to employ them, and how they react to the paint as well as to the outdoor elements.

Over the course of about five hours, Miller casts over one thousand times, the mark of each cast eventually making up a finished painting of a chosen river.

When a work is completed, the polycarbonate is reversed before being mounted on a wall. Miller therefore paints backways in a sense, as the finished painting is an inverse of the process, with the first strokes of paint appearing at the front of the composition as if they were the final strokes.

When installed, the paintings hang two inches off the wall, allowing light to shine through the polycarbonate, further recalling how light dances in a fluid body of water. The sheen of the polycarbonate, which now faces the viewer when mounted, also creates a texture akin to that of the river itself.

One comes to realize that Miller, in a sense, paints backwards – the actual finished painting is the reverse of the paint covered transparent polycarbonate.

When installed, the paintings hang two inches off the wall, allowing light to shine through the polycarbonate, further recalling how light dances in a fluid body of water. The sheen of the polycarbonate, which now faces the viewer when mounted, also creates a texture akin to that of the river itself.