Towards the end of 2022, I had the great pleasure of visiting with Studio Gallery artist, Miriam Keeler, in her home and studio. Miriam greeted me at the door, and while I had only met her once prior to that morning, her face felt very familiar. Often using herself as a subject in her paintings, it feels as though I’ve become acquainted with Miriam multiple times.
Miriam offered me something to drink, and proceeded to walk me through her Washington D.C. home. It was a beautiful space, decorated with cherished pieces and a Mid-Century Modern aesthetic. Her artwork adorned the walls and brought a great sense of brightness into the space. We sat in her living room and began to discuss the works on the walls of the space, such as Looking for My Inner Beckman and Lust.
Keeler’s TV stand in her Washington DC home, featuring her painting Looking For My Inner Beckman, from her series Self-Portraits As Artist.
Miriam explained that she often works in a limited series format, narrowing in on a specific topic that moves her at that moment in time. Her painting Lust, which is hung by her dining table, comes from the series Seven Deadly Sins. In Seven Deadly Sins, Miriam investigates contemporary life and human temptation through bright pop culture imagery and art historical references. This limited series consists of seven paintings, each dedicated to its own sin. Once Miriam feels she has explored a topic to her own contentment, she closes the chapter and moves towards a new body of work.
Lust, Oil on linen, 30” x 30”, 2016.
We then began to discuss Miriam’s studio space. Her studio has large floor-to-ceiling windows, with an exceptional view of the Kennedy Center and the Potomac River. Theodore Roosevelt Island and Arlington, VA are in the distance, joining the landscape to create the perfect snapshot of the city. This view is one of Miriam’s favorite parts of her apartment, with natural light galore and a first row seat to the changing seasons of D.C.
A cart in Keeler’s Foggy Bottom studio.
Miriam described her studio space as “makeshift;” still settling into her new Foggy Bottom apartment, she felt as though her studio needed some work. I instead found it welcoming; it was the workspace of an artist rediscovering her practice and navigating through recent hardships.
Miriam has a desk in the corner, with clippings of her favorite works from art history hung on the walls. Her desk is brimming with life, with magazine covers depicting her painting Self-Portrait As Human Animal, and show cards from her Studio Gallery solo exhibition, Conceptual Animal.
The wall in Keeler’s studio.
In the center of the room she has a large wooden easel, adorned with hats. On the left, a colorful propeller cap; on the right, a bejeweled red one. Sitting on the easel are two self portraits that are a part of her latest series, each one matching the hat it sits underneath.
Miriam explained that these pieces are new challenges for her: with a recent loss of vision in one eye, Miriam is learning to navigate her painting practice with a new perspective. She is working smaller, but her bright and whimsical themes are still present. In the corner of the studio is a box of hats and headpieces - ready to be modeled for a new work in this series.
The central easel in Keeler’s studio, displaying two new works.
I asked Miriam about her pieces, and if there was a particular reason that she gravitated towards self portraits. She explained that they didn’t feel so much like self portraits to her; rather, they were explorations of character, of color, of the artistic voice, and more. She finds it easy to use herself as a model because she can manipulate the poses and expressions to how she envisions them. The work not only becomes a physical resemblance, but an intimate window into Miriam’s mind.
In recent years, Miriam has explored themes of age, grief, and the human/animal relationship. When I asked what inspired these works, she explained that she often gravitates towards themes that puzzle her and that she wants to understand better. Many of the works in her series A.G.E. feature women artists in their old age and who were exhibiting incredible creativity in the later years of their life. Two works also chronicle the loss of a great love, but celebrates the afterlife and the spirit of the relationship. Miriam takes these challenging conversations and earnestly explores the ins and outs of time and humanity.
She asked about my own practice, and if I had a studio I worked out of. I explained that currently my studio also acts as my bedroom (or perhaps the other way around), and that sometimes I wish for a dedicated space. She shared that Alice Neel, one of her favorite artists (who makes an appearance in her series Homages) used to store her painting supplies in a small bin that would only come out when she had a figure visit. It was inspiring to hear that art can and will be made, regardless of your given resources.
Materials in Keeler’s studio.
When Miriam is not in the studio, she regularly attends critique group meetings with other artists. She loves these meetings and uses them as motivation to keep making work and challenge her ideas. She is an exclusive member with Studio Gallery, only showing work within our space. As I got up to leave, we exchanged appreciations and Miriam spoke excitedly about the work she is preparing for her next exhibition at Studio Gallery. I asked her to keep me updated, and we went about our separate ways (for now).
I had always been drawn to Miriam’s work, but now with the insight of Miriam’s practice and inspiration, her works feel no less than exceptional.
Written by staff contributor Samantha Van Heest
2.24.2023