Daniel Lloyd-Miller is a painter uniting disparate impulses from interior self-examination to outward pictorial notation.  Repetition plays a large part in his work, whether form or motif, some ideas are tested once, and others juiced for their possibilities. Testing the theory that an idea only kindles the painting, Lloyd-Miller’s paintings aim to surpass the genesis into more ambiguous terms, where place and figure recede into space and shape and where unconscious desires are laid bare.  Limp figures form motifs of resignation and veneers of rage.  These explorations are counterbalanced by his dedicated practice of looking and recording.  In Chicago, this has mostly surrounded the citizens of public transit espied from afar or from behind. So there are classic painting concerns- like how to make “a good painting”, but also moving past those concerns too, into territory where the improvisation cooks the ingredients of everyday life, online news stories, feelings, and aesthetics into something ambiguous and contradictory, but hopefully revealing.