Known for his now iconic, character-based work; Stormie Mills has built his career around paintings which blend simplistic style, with fine detail to create results that inspire both pensive reflection and technical appreciation. On a recent exploration trip to Antarctica, Mills’ experience allowed him to enter a new chapter in his artistic journey, that now spans over 25 years. We caught up with the well-travelled artist to discuss childhood adventures, creative exploration, and people watching as an activity we can all relate to.
What was Antarctica like?
I’ve travelled a fair bit and people always ask me, “where’s the most amazing place you’ve been?” I always say everywhere has its own amazing qualities, but now it’s easily Antarctica. The place is not like anything you would’ve ever seen or experienced, it’s just amazing. Everything is really old and it warps your perspective of time and space. It makes you realise that we are only here for a very short and finite amount of time. If you wanna feel human, this place will do it for you in the best way possible. Upon arriving home I realised there was so much I wanted and needed to start, it invigorated my zest for life and I understood that I needed to make the most of my time. You shouldn’t waste time thinking about stuff you want to experience, just do it.
You’ve travelled extensively from a young age. What was attending eight different schools like?
I never really seemed to have much of a problem. I was a naughty kid, so I always found other naughty kids to hang out with! Getting into trouble together was easy and fun. My two brothers helped out a lot too. From here to the UK we coped well – kids are wrapped in cotton wool these days, we need to understand that they are so much more resilient. Growing up for me wasn’t difficult because it was just a big adventure. Pakistan, India, anywhere – I thought it was normal to travel around like that! Everyone probably just thought I was the naughty kid who kept disappearing because of my behaviour. Little did they know I was just at another school in a different country.
Tell us about your people watching inspiration for Peoples and Places…
I have this really distinct memo – Downtown New York – I was crossing Broadway and I saw this kid coming out of the store – quite obviously born and bred New York too. Instead of the iconic I Heart New York tee, the top he was wearing displayed the same graphic, but instead said, “Go love your own fucking city”. I immediately thought “man, that is totally the NY attitude!” I mean, how and why what I do is very much grounded in the fact that for the most part, I was raised in Perth. Seeing how people experience the world based on where they come from fascinates me, and I love analysing the environment where others grew up and have lived, because it shapes them in different ways. It’s the same everywhere. You can see how places affect people and you can see that they take this with them everywhere they go.
How would you describe the creative style used for this new set of work?
When I first started painting, I was really only introduced to about six different colours, yet only liked a few (I was really never into using forest green!) So when I got to the UK in ‘86, I just stuck with using the darker options I could afford and was limited to, but enjoyed anyway. This also pushed me to experiment with mixing the only paints I owned… which most of the time was pretty awful. I definitely did have a crack at using a whole range of colours when I could though, along with different styles of painting – I taught myself by looking at everything from abstract expressionist work, to various typography techniques. For me, this new work is about going back to the palette range I was used to having as a kid and how it was when I started painting.
At heart, you’re a street artist. What is street art to you?
Street art covers a whole range of different things. I have this Allan Schwartzman book, called Street Art, which I bought when I was 16. Before that, I’d only ever seen subway art, so this book totally blew me away. I remember my little brother telling me to get this book but saying it wasn’t that cool because it only featured a little bit of graffiti and a whole bunch of other ‘stuff’. I had a look and just thought “Holy Moly!” – it was so much more than I had ever been led to believe about the art I love. After this, I was seeing this newfound form of street art everywhere. Walking around SoHo was all of a sudden better and that’s what excited me. I found it amazing that people were creating work anywhere and interacting with their space in whatever way they could. There should be more, and this is where street art has so much more room for expansion.
For someone who enjoys isolation, speaking in front of a large design audience, earlier this year at Melbourne’s AGIdeas must’ve been daunting, right?
Was it 3000 people? Talking about yourself to that many people is petrifying! That whole thing where people say you look up from the stage and just see lights? That’s a lie. I looked up and was able to see all of their faces intently staring back at me, and definitely lost my place. I’ve never rehearsed for anything, so it was quite an experience. I enjoyed that people had no idea when I was making mistakes, but it meant so much to me all the same – having so many people genuinely interested in what I do. I’m just this kid from Perth, so it was mind-blowing to know that so many people care about what you live for. Crazy!
Artistically, what has been your favourite travel experience?
There have been plenty. Of all the bizarre and strange places I’ve painted, the craziest have been in caves and abandoned villages. Leaving your mark there is incredible, and just the opportunity to experience that is awesome. The idea of my work is not based around a fact that loads of people need to see it. My work isn’t for exposure or print in that regard, I want people to be able to travel to these places and see these paintings so they gain a different experience in the right context. You get the tonal value of it, which just doesn’t translate on other platforms. I encourage everyone to travel to see their favourite art, right from the source. I also feel that your memory is so superior and unique as well, it would be a shame not to utilise it.
What’s it like to be in your mind, when you’re at work?
I always feel that I’m about to be held hostage again. Because of the way that I paint and the techniques, which I have developed, it’s like I’m going to be held captive until the painting is finished For example, the drying times are always a massive factor. I have to work according to their plan in order to get exactly what I need. I could be there for the next two days. You have to commit yourself to the time you have. Like running a marathon, you can’t take a break whenever you like! I always think its hostage time, but in a good way. I always think, “let the battle commence!” Sometimes, it takes some great mental energy to complete a piece.
How much of your work directly relates to your own personal experience?
Not a lot of them are about me, but how I like to see things and imagine how the subjects I paint live. I don’t necessarily interact with these people, too, so I could be totally wrong in many ways. Maybe I see a positive in them that they can’t feel. I love to approach my work with a realist approach, but I always look for glass half full moments. I’m always trying to explain and illustrate this through the painting.
Any future plans?
After this show, I would like to go back to Miami. The next little while will be about more painting and travelling at my own pace, without any real focus on a show, and no deadlines I think! Peoples and Places is landscape focused – a big step out of a comfort zone – As much as I have loved the experience; I want to get into creating work without it having to come to a point. Just making art is the main priority for now.
Peoples and Places
Stormie Mills
Metro Gallery (1214 High St, Armadale, VIC)
Opens 01 October
Until 20 October
Launch: Wednesday 03 October from 6.30pm