But Miller's quick to note that most of his pieces are up temporarily. "The bulk of the work in here represents things that I did in graduate school. I wish I could say that I use this room more effectively, but it's kind of a receptacle for the work until it gets shipped off."
His approach has evolved to using paint often plays with optical illusions by shaping solid block letters, figure casts, and warped window and picture frames. He often challenges the definition of paint by taking experimenting with ordinary products such as mustard and crayons.
"I'm always going back to the substance of paint, how it moves and functions not just physically, but conceptually and how we expect it to work," he says. "It comes in a three-dimensional tube, but we expect it to get thinned out and stretched out in this specific way. It's a made-up thing."
Miller says these leftover paint formations are remnants from other pieces that will be saved for later use.
"My work is trying to take as multi-faceted a view on painting as it possibly can -- poking fun at it, referencing historical movements, and honestly, having fun in the studio."