MIRROR MIRROR
hue reminds me of McAlpine Miller’s palette. Direct from the Cinematographer’s use of a gloriously rich rainbow of colours, from the emerald green city to ruby red shoes; blue birds flying in blue skies; acid-yellow candy lemon-drops; and a yellow brick road. When Dorothy develops the story, that, here, “It's not a place you can get to by a boat, or a train. It's far, far away. Behind the moon, beyond the rain...” , McAlpine Miller picks up the tempo, transporting you straight in to the heart of his painting, full of allegorical symbolism, often highlighted by the title of his picture, and the standpoint of his models, even. Some might say McAlpine Miller objectifies the models he paints, but no, he really doesn’t. His women are powerful. That’s part of their appeal. Consider this – sticking with The Wizard of Oz allegory, in Dorothy the feminist message is strong. Any character that has any real power in Oz is female. Dorothy... the witches.... And the men are all wanting; a wizard without magic, a lion without courage, a tin man without a heart and a scarecrow without a brain. Yet here, McAlpine Miller is the ‘man behind the curtain’, saying, he paints, “The idea that each individual has an imagination, and something greater, beyond the plastic outer wrapping. Something which goes firmly against the idea of a fair and just feminist society that is looked upon as a mere vehicle to promote and sell.” Proving his point, see how youth, beauty and spirit comes into its own in ‘The Reveal’ , where comic imagery from the 1950s American comic book ‘Archie’ is backing the Cheerleader, aware of the power of her sexuality, with her pants and t-shirt pulled taut exposing her midriff and highlighting her curves, she’s the perfect girl. As we understand Cheerleaders are icons whom launch the American interest of natural sex appeal, some might describe McAlpine Miller’s portrayal of women as sexy. Too sexy. But no, compare him with Allen Jones and Jones’s stiff women with long legs in high heels and breasts in bondage. Flat, with probably nothing more on offer, beyond a sexist demeaning drag. Making McAlpine Miller more Pin-Up, more Flying Girls, and giving a commendable, praiseworthy, identity to the ‘Darlin’ Doll’ painted on the nose cone of an aeroplane, boosting the morale of the air force troops. From bomb to Bombshell. As McAlpine Miller is not about the objectification of women, he is, instead, an artist whom admires women, and the female form, from Kate Moss to Madonna. With all the excitement we want to connect with in our own personal lives. McAlpine Miller’s girls smile at us as today’s Mona Lisa. Her red lips parted ever-so-slightly. Demanding we ask who she is and what she’s thinking. What was the artist thinking about her? And what do you think of her now? These attractive, oh come on let’s be honest, extremely sexy women, are the point of departure for you. Their seeming familiarity is just your imagination playing with illusions as your fantasies become part of the grit in McAlpine Miller’s oyster. The model brings desires, aspirations and satisfaction; a place where your ideas and desires are provided with a platform to thrive, rouse and grow. Engaging in intimate eye contact with you, all that glorious, sumptuous, detail makes sensual the narrative as McAlpine Miller layers the narrative, thickly, in his paintings much the same way that a music producer, like George Martin, is able to create a multi-track recording with layers of sound and nuance.
xxxxx Original Oil on Canvas | xx cm x xx cm
6 | STUART McALPINE MILLER
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