Justin Henry Miller’s paintings are meticulously rendered, finely wrought, hi-def, sci-fi fantasies of a bio-medical graveyard that take place in the (maybe not so distant) future: after the experiments have concluded and the labs have been abandoned. Failed experiments are mixed with semi-successful results in the now defunct paraphernalia and discarded equipment of bio-medical waste. Fetal tissue and synthetic organs are encased forever in a state of suspended animation. Artificial respiration, insemination, and even perspiration are machine generated in self sustaining perpetuity.
Miller's new exhibition, "The Fallout Kingdom," creates this parallel world, providing a glimpse into the aftermath of our own planet’s seemingly inevitable demise. Despite this vanitas, the characters in these paintings display a whimsical resiliency, as they salvage the leftovers and reclaim the detritus to carve out a new candy-coated existence.
In addition to the paintings are a series of found antique and vintage photographs of individuals and families, altered with the same fastidiously painted surfaces that Miller uses in his original compositions. He delights in the absurd results of combining Victorian poses, restraint and correctness with mutant children and sea creatures as hats.