A Bewitching Conversation with Colette Miller
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Colette Miller is an American artist that works in painting, music, poetry, and film. She has a degree in Fine Art from Virginia Commonwealth University and continued her film studies at UCLA. She is based in Los Angeles and most notably known for her Global Wings Project, she is also known widely for her time in the internationally known band Gwar. Miller met a group of local art students who formed the now infamous punk metal band Gwar; shortly after, Miller became a member while a student at VCU. Gwar was a byproduct of that time of the politics, societal issues, and cultural clashes of the 80s; Miller performed in the band under the names "Gwar Girl or Woman" and "Amazina." Miller left GWAR and furthered her visual artistic pursuits. She created the interactive street art project Global Arts Wings Project. Miller has designed and installed angel wings in countries and cities internationally, earning her international and critical renown.
I had the pleasure of asking Colette about her time in Gwar as the only female member, what she is currently listening to, her first reaction to the Global Angels Project worldwide, and so much more.
UZOMAH: What drew you to performance art?
COLETTE: I was in art school studying fine art and painting at Virginia Commonwealth University in Richmond, Virginia, and it was a flourishing young music scene. My then-boyfriend was a charismatic performer and punk rocker type Dave Brockie, in a band named Death Piggy. He eventually became known in the music world for his leadership role in GWAR as Oderus Urungus. I was inspired by the music and art scene, it was accessible and peer-driven, and we had access to all the bands traveling through- early Red Hot Chili Peppers, Black Flag, Bad Brains, Skinny Puppy. -It was a great era for music in America before the internet - it was based on word of mouth, walking the pavement-grassroots advertising. You would discover what was going on via paper flyers stapled to telephone poles. Many local bands were energetically forming- Youthful and invincible, inspiring each other with a healthy competitiveness. I lived in an old dairy plant warehouse with giant Milk Bottle shaped corners where I had an art studio. I performed briefly with GWAR as Amazina in the very formative years, making props and occasionally singing backup if I cajoled Dave, the leader - Also, another band, Milk, basically had the same lineup, just different costumes. Later in NYC and South Africa, I formed my own band Dayglow Aborigines. I wrote songs based on the colors of the chakras and lit the stage in the corresponding colors.
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U: How do you prepare for a performance versus creating a piece of art? How are they similar or different?
C: I haven't performed much lately. I did one gig last year with a band from Richmond, Final Twitches, but performance is being in the moment, channeling lyrics, traveling in the mind, and being spontaneous. You are aware of the audience. Art is an object complete, hopefully, a lasting work. If something nags at you -composition or color, you edit it; it must reach a certain peace before it can live in the world and have a timelessness. A meditation with the viewer.
U: What are you currently listening to music-wise?
C: Everything. If I have music on, I'll switch around- An eclectic stream including Classical, 70s rock, 80s funk, and world music from other countries. When I attempt a band, I listen to our rehearsal over and over, trying to improve and get it someplace.
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U: What was your first reaction when your Global Angel Wings Project went viral?
C: A gratefulness, feeling understood and humble too. Zeitgeist, the spirit of the times.
U: What are some things you consider before selecting neighborhoods worldwide that need moral uplifting?
C: The wall, situation, and accessibility. The danger. Sometimes I am commissioned, and I work with the team there, they have the wall. If it's on my own merit in a destitute area like a refugee camp, I just find a way, and think on my feet.
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U: How important was being a female member of such an ironic band as Gwar?
C: At the time in college, it seems bands were predominately male, so females in the arena were a bit of pioneers. I thought equal but different was what was important to express. Powerful in unique ways. Eventually, I parted ways after my split with the lead singer (my first "real boyfriend").In retrospect, my artistic path was obviously different from the GWARs collective. I think their path is about pushing boundaries
U: You performed in the band under "Gwar Girl or Woman" and "Amazina." The character you developed was an empowered female warrior, unlike the sexualized woman stereotype prevalent during the 1980s. Can you discuss the feedback you got from the public outside of the Gwar fanbase and within?
C: My grandma in North Carolina called me a heathen when she saw the photos in the early days, and at that time, the costumes were still tame. I was wearing a one-piece swimsuit with spikes. After I was kicked out, some people, like my parents, thought it may be one of the best things that happened to me, but I believed they would make their mark. Other people, fans, and such thought it amazing. It has had a loyal following since its inception. They call themselves BOHABS.
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U: How did traveling while growing up give you a sense of seeing art, not just on a canvas?
C: Traveling is one of the best educations, broadening the mind, and making you less judgmental. Seeing other ways of life, belief systems. The history of humanity and what was important enough to create at that time. Art is the world's journal.
U: What drives you to keep making art?
C: It gives me a peace and self-awareness. An esteem. I feel grounded.
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U: Can you explain the most significant similarities that music and art have in how the process of creativity is explored?
C: Both need authenticity. Humans’ sense lies intuitively. We are actually hungry for the authentic in this world. People may be weary of Artificial Intelligence (A.I) at this time, but I don't believe A.I. can ever replace the soul in art. The mystical. We will see.
When I did music, it was mostly a collaboration. When I wrote lyrics, they can come fast like a complete poem, sometimes partially inspired by the riff and rhythm. An idea too, like the Global Angel Wings Project, in which I had a type of vision to put up huge wings around the world (back in 2011-2012), then acted on it and made them human-sized to fit people, (something I had not seen before ) to remind us of our higher natures, the divine To remind humanity we are the Angels of this Earth. I finished a planet series recently, but all have a witticism written on them, Like Mars says, "Love Your Neighbor," and Uranus's, "It’s getting weird out here." Ideas eventually become of the world.
For more information about Colette’s artwork, please visit her site and also find her on Instagram, and Facebook. Also, you can find more information about her Global Angel Wings Project here.
