studioe

Erin Milez
@erinmilez | www.erinmilez.com

EXHIBITIONS
Small Paintings, 2025, Group, Monya Rowe Gallery, NYC
Looking In, Looking Out, 2025, Group, Monya Rowe Gallery, NYC
Chimera, 2025, Solo, Monya Rowe Gallery, NYC
New Life, 2025, curated by Alexi Worth and Danica Lundy Platform, Project Space, NYC 
Round and Around We Go, 2023, Solo, Monya Rowe Gallery, NYC
Duality: Real and Perceived, 2023, Group, Monya Rowe Gallery, NYC
Works on Paper, 2023, Group, Monya Rowe Gallery, NYC
Two Bodies, One Mind, 2023, Solo, Lorin Gallery, LA
I Am American, 2023, Group, Kutlesa Gallery, Switzerland
Untitled Miami Group Booth, 2022, Cob Gallery, London
My Right, Your Left Online, 2022, Solo, Arsenal Contemporary, NYC
Go Figure! 2022, Group, Daniel Raphael Gallery, London
The Bathroom Show, 2022, Group, Monya Rowe Gallery, NYC
Talking All Day, 2022, Group, Badr El Jundi Gallery, Marbella, Spain
Art Central Hong Kong Group Booth 2022, Lorin Gallery, LA
Loved Ones, 2022, Group, New York Academy of Art 
Lights, 2021, Group, Lorin Gallery, LA
MFA Thesis Show, 2021, New York Academy of Art

BIO
Erin Milez (b. 1994) grew up in Chicago and has split her adult years between Seattle and the New York City area. She earned her BA in Studio Art from Seattle Pacific University and her MFA from the New York Academy of Art in 2021. She is a recipient of the Elizabeth Greenshields Grant and featured in several publications including Art Maze Mag Issue 26, Colossal, The Financial Times, and Booooooom. She has shown with Monya Rowe Gallery, Cob Gallery, Kutlesa Gallery, Lorin Gallery, Daniel Raphael Gallery, and Badr El Jundi Gallery. She currently lives and works in Seattle, WA with her husband and kids.


Artworks Courtesy of Monya Rowe Gallery, NY

STATEMENT
My work honors and humors the slow chaos of domestic life. In this current age where we feel pressure to make every lived moment an “accomplishment” by societal standards, my work’s acceptance and examination of the banalities of living aims to offer us, especially those who are parents, a moment to notice the beauty of living life.

The scenes portrayed in my work are largely autobiographical and self-referrential to my experiences of beginning my own family. I examine my own transformation into parenthood, physically and psychologically. At times the transformations seem grotesque and objectifying, but are always mitigated by the tender and loving reality of the responsibility of raising children into our world. As stewards of our own domestic life, we feel the pressures and sacrifices required by daily routine both in and out of the home. My work witnesses how we are stretched and changed, but always centered on intimacy. Raising a family is both a very private and surprisingly public endeavor, and my work is increasingly exploring how we are seen by others and how our choices build our sense of safety and unity in the world.

Compression, repetition, color, and wide bodies play key roles in my work. The figures, in particular the hands, are overactive in their affection, cleaning, and chaos. The figures are painted in a way that recalls the workforce in Diego Rivera, Stanley

Spencer, and WPA era works. Like Spencer who “observed the sacred quality in the most unexpected quarters” of his hometown, my work argues for sanctity on the smallest and most mundane of levels.

My paintings are labors of love, much like parenting. They require attentiveness and are highly detailed, filled with the paraphernalia of contemporary life. My deep commitment to painting echoes my own every day commitment to home, reminding me that my act of caring is a tether to humility and love.