Harland Miller’s XXX (2023) is a striking and provocative example of the artist’s ongoing exploration of language, typography, and the emotional resonance of words when presented as objects of design. Known for his large-scale paintings that reference the dust jackets of vintage Penguin books, Miller has developed a distinct visual language that merges literary nostalgia with Pop Art sensibilities. In XXX, he distills this approach into a bold, almost minimal composition, yet one that brims with layered meaning.
The work is dominated by a monumental, central “X,” rendered in a vivid pink hue that pulsates against a rich, saturated red background. Miller plays with optical depth by repeating and slightly offsetting the form in lighter and darker shades, creating a shimmering, vibrating effect. This layered transparency recalls silkscreen printing techniques and adds a sense of movement, as though the letter is vibrating with energy or viewed through a heat haze. The “X” is both a typographic character and a symbolic form — an abstract shape that can signify the unknown, a kiss, or, in this case, a reference to the “XXX” of the title.
At the lower edge of the composition, a cream-coloured band mimics the format of a book cover’s title section. Here, the artist’s name, Harland Miller, is printed in bold red block capitals, while the word “XXX” appears again in black serif type, recalling the typography of classic publishing imprints. This formal arrangement draws on the visual logic of literature but repositions it in the context of contemporary painting, inviting the viewer to see text as image and image as text.
The title XXX operates on multiple levels. It carries connotations of censorship, adult content, and transgression, immediately engaging with ideas of taboo and desire. Simultaneously, it hints at affectionate shorthand — the triple “x” as kisses — softening its impact with intimacy. Miller thrives in this territory of ambiguity, where language’s shifting contexts destabilise its meaning. The viewer is left to question whether the work is celebratory, ironic, critical, or all three at once.
Colour is integral to the painting’s impact. The contrast between the hot, saturated reds and pinks produces a visceral, almost bodily sensation. These colours, often associated with passion, love, and eroticism, also carry a certain cultural kitsch, particularly in the context of vintage design. Miller’s palette situates the work between the bold flatness of Pop Art and the lush surface of colour field painting, creating a visual tension that mirrors the linguistic one.
In XXX, Miller reaffirms his mastery of combining painterly execution with graphic precision. His brushwork is subtly visible beneath the smooth gradients, grounding the image in the realm of painting while maintaining the crispness of commercial print design. The result is an object that operates both as fine art and as a piece of cultural commentary — a seductive surface that draws you in, only to make you question what you are drawn toward.
Ultimately, XXX is not just a painting of a letter or a word. It is an exploration of how language, design, and colour can evoke complex emotional and cultural associations. By compressing multiple readings into a single, iconic image, Miller invites the viewer into a dialogue about meaning, memory, and the seductive power of visual language.
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