Rosie Miller - Bio

Rosie Miller Bio/ Art: By exploring paper’s materiality, Rosie Miller shows how a single medium can open truly limitless possibilities. She approaches paper as a sculptural material, probing its properties to forge a tactile language for her work.

ART

Rosie Miller graduated with a BFA from the Victorian College of the Arts and has maintained a continuous exhibition record in Australian galleries since her first shows in 2007. Her professional path includes work in Visual Arts Education, the development of gallery programmes and workshops, and freelance commissions for public, private and community organisations.

Miller’s practice is driven by a fascination with the detail of things—how objects and people operate, the logic that underlies them, and the quiet beauty that emerges from that scrutiny. Inspired by the Bauhaus maxim form follows function, she looks to the material itself for guidance. The teachings of Josef Albers (material exploration through play), Ai Weiwei (ethical, ready‑made language), Martin Creed (humorous, present‑moment art), Sol LeWitt (geometric minimalism), Roman Signer, Francis Alÿs, Maurizio Cattelan, and architects Ludwig Mies van der Rohe and Jean Prouvé shape her conceptual framework. Movements ranging from Romanticism to Arte Povera also inform her thinking.

Her material investigation began in 2006 with paper. By treating paper as a sculptural medium—probing grain, weight, and structural behaviour—she creates organic forms from single sheets and from de‑constructed airport novels. This “action‑response” process has yielded national exhibitions, large‑scale public installations, and curriculum‑aligned print‑making modules for Queensland primary schools, all of which emphasize experimental thinking as a transferable skill.

Rosie Miller Bio/ Furniture: Rosie Miller's approach to Art and Material Investigation applies to her Furniture. Using few materials, she has designed and maintains a cohesive collection and refined minimal aesthetic.

Furniture

The same material curiosity that fuels Miller’s art animates her furniture collection. Each piece is conceived as a functional sculpture, crafted for specific spaces rather than mass production. Using only premium pine and marine‑grade plywood, she hand‑cuts, sands, assembles and finishes each item with a white‑liming varnish that preserves grain, prevents yellowing and keeps the work light yet robust.

The visual language is deliberately restrained: clean squares and rectangles that act as calm, supportive surfaces rather than dominant statements. A limited material palette ensures visual cohesion across the collection, allowing individual items to coexist without visual clutter. The result is furniture that is practical, minimal, and resilient—a neutral canvas inviting occupants to layer their own style and creativity.

Miller’s furniture thus extends her artistic inquiry, translating the exploratory, material‑driven process of her paper sculptures into functional, artful objects that enrich everyday environments.