Gerold Miller’s Set c24 (2024) is directly linked to his Section series, particularly Section 4 (2017), where the structural role of the corner becomes a defining compositional element. In Set c24, Miller isolates and refines this aspect, using a diagonal division that introduces a new spatial dynamic. The sharp contrast between a deep black field and a metallic silver segment articulates a precise yet restrained tension, reinforcing his ongoing engagement with surface, structure, and perception.

Miller describes the C Sets as a pivotal development in his practice, where “imbalance is lost” and notions of “instability” shift into a more resolved compositional logic. This transition relates to his broader investigation into time, suggesting a movement away from the tension-driven equilibrium of his Section works towards a more distilled spatial presence.

Although the formal division in Set c24 may recall Sigmar Polke’s Höhere Wesen befahlen: rechte obere Ecke schwarz malen! (1969), Miller’s approach is fundamentally distinct. While Polke’s work engages with irony and textual intervention to critique artistic authority, Miller operates within a framework of industrial precision and minimal abstraction, reducing pictorial language to its essential material and spatial conditions. The reference to the corner in Set c24 is thus not conceptual but structural, linking back to Section 4 as a foundational element of Miller’s evolving practice.