STUART MCALPINE MILLER

The world-renowned Ayrshire artist, talks to AM

Gill Sherry

I take some time to study Stuart McAlpine Miller’s works of art before our scheduled Zoom call. I’m no expert, but I know what I like, and would be more than happy for his paintings to decorate the walls of my Ayrshire home. That said, having read Stuart’s biography and counted the number of solo exhibitions on his website, I suspect his creations may be slightly over my budget. Rather than feeling disappointed, I’m thrilled on his behalf. He hails from Ayrshire, so his success is something to celebrate.

Born in Irvine, Stuart grew up in Stevenston and Kilwinning before studying art at the University of Dundee and then, immediately after graduating, moving to London.

“From the age of two, I wanted to be an artist. There was nothing else I wanted to do. Good, bad or indifferent, it didn’t matter, I just wanted to experience the idea of being an artist.”

It all began when Stuart opened a Christmas present which was intended for his older brother.

“It was a set of paints and watercolours. I was absolutely delighted, only to be told they weren’t for me. But that’s where my infatuation started, I suppose.”

His talent must have been obvious because at his degree show in Dundee in 1990, a scout from Edinburgh bought a series of his paintings on behalf of a London gallery owner, which led to his first solo exhibition.

“I was very excited about it,” he recalls, “but the show opened on a Thursday evening in probably the biggest snowstorm that London had ever seen. People were actually building snowmen! I think three people turned up, so it wasn’t the fanfare I was anticipating.”

He can laugh about it now, and despite the initial disappointment, did manage to sell a few paintings.

Since that first exhibition, his preference for oil on canvas remains unchanged. His style, however, continues to develop.

“Originally, I was more interested in surreal ideas for paintings. Growing up and learning to paint I was looking at Old Masters, Dutch painters and Renaissance painters who were incredibly gifted technically… and also use of light etc. That was a great learning process, being able to replicate – not copy – their ability to draw. I was fascinated by that.”

As a student, he combined different ideas and used symbolism to create what he refers to as “surreal” images. Human heads on birds’ bodies, for example.

“Coincidentally, that has transpired into recent works. It’s almost like a full circle. I went through lots of different stages and ideas, trying to express myself in the way that I felt was relevant to the time.”

Which is why, with the advent of social media, his work began to reflect the experiences people were having with various on-line platforms.

“It was interesting in the sense that it’s a bit of a throwaway world, and people were expecting to be famous for not much at all. Life had changed dramatically in so many ways and I think I was trying to record that the best way I could through the images I was creating.”

Stuart believes in the theory that beauty is only skin deep, and this is a common theme in his works.

“It’s a message to everyone based upon social media. It’s a fractious environment. It’s very fragile and there’s no great longevity to it, so don’t rely on that for the rest of your life, or your future, because it will implode. Don’t be used by people based upon how you look. You’re better than that, and far greater than what people are trying to use you for. Don’t just use what other people would expect you to use to make you feel special.”

His latest series is titled It’s a Generation Thing and explores our dependency on social media and the effect it has on our mental health.

“It’s basically the relationships between mother and son, mother and daughter, father and son, father and daughter… and the insecurity that certain people can feel based upon what’s happened through social media.”

Nostalgia is another theme often represented in his art.

“The idea of using nostalgia was basically the suggestion that we grew up in a time when cartoon imagery inspired us. That was our background, and it gave us the idea of how we could develop as people.”

Having discussed where the ideas for his collections come from, I’m curious to learn how he chooses a title.

“The titles originate from the idea. If I’m trying to depict a series of things that I think are really happening, there’s got to be a rationale behind why I’m doing it. That’s the reason for painting these pictures. I have a working title and then eventually it makes sense as I get more and more involved in the series.”

With so many collections and solo exhibitions to his name, I ask if he still gets a buzz from selling one of his paintings.

“It’s interesting because you think success is only based upon the next few paintings that you’ve sold. In the early days I had no massive ambition to be exceptionally successful, but I enjoyed the idea that I could create something that nobody had seen before and that they were willing to invest money into it. For me, that was a fantastic compliment. So, one painting or ten paintings being sold was just incredible.”

And now?

“Later on, things did change dramatically… sell-out shows, multi-million pounds in one evening. It was just crazy… but you’d kind of built up to it so it wasn’t like you were absolutely amazed by it. But it’s important not to forget who you are and where you came from and why you do what you’re doing. I’m exactly that person.”

I’m quite surprised when Stuart says he would rather receive negative feedback than no feedback at all.

“It doesn’t matter if they appreciate it or not, as long as they comment on it. Express your view on it. If you don’t like it, I’d like to discuss that and find out exactly what you think. I wouldn’t take offence to it. I’d just be keen to hear your opinion.”

Stuart has built up quite a following in what will soon be four decades of painting. With that in mind, is it not risky changing from one style to another?

“Not every show is successful… and at the moment I’m taking a big risk because my work has changed dramatically. But I don’t care about that. I just want to be able to express myself in the way that I want to. If people buy it, amazing, I’m so proud of that. If they don’t, it doesn’t bother me, as long as I’m being faithfully truthful to what I want to do.”

His paintings can vary in size from seven-inch square to 44-inch square. The number of paintings in one series will also differ from one collection to another.

“Sometimes, you can drag things out and lose the focus once you’ve got too far and too heavily involved in a series of paintings. It’s like knowing how to end a painting as well. Obviously, galleries would prefer that you had 1,000 paintings, but I think maybe 18 would suffice.”

Most of Stuart’s exhibitions take place in London, where he has lived and worked since graduating.
“London is a bigger pond, so the potential to make consistent sales is far greater because of the amount of people who live within the city and who visit that city as well. Plus, there are far more galleries and more business opportunities than living in a colloquial environment.”

That said, he remains proud of his Ayrshire roots.

“I come from Ayrshire, and I’ve had clients in the past who have collected my works, so it will be interesting for these people to see what I’ve achieved. Art in any form is not an easy thing, even just to make a living.”

Stuart McAlpine Miller has done more than make a living. He’s made a name for himself the world over. His paintings sell for what most of us would consider an eye-watering amount of money, yet he remains forever grateful that he’s able to spend his days doing the one thing he’s always wanted to do – ever since he opened that set of paints and watercolours.

“That’s better than anything,” he says. “That’s the fantastic reward.”
www.mcalpinemillereditions.co.uk