Studying the Renaissance masters during his early art career while living near Florence, Italy, left an indelible mark on Gino Miles. The design aspects of his sculpture—whether in his older figurative pieces or more recent abstracts—are built on a foundation of centuries of sculptors who came before him. From ancient Greek masterpieces to Renaissance to those more recent artists like Archipenko, Marino Marini, Manzu, and Henry Moore, all have influenced Gino in his art. In addition to other artists, simple naturally-occurring objects like rocks, shells, branches, and vines—especially the way that plants like morning glories tie themselves in knots—have had a profound impact on Miles.
Growing upon the western slope of Colorado, the spectacular natural beauty of the Colorado National Monument was a favorite place in his childhood. He attended the University of Northern Colorado in the early 1970’s where two of his professors, Paolo Barucchieri and William Cordiner, both exceptionally talented artists and art historians, became lifelong friends and mentors. Gino and Paolo with a few others founded a school for American university students outside Florence, where Gino spent ten years from the early 1970’s to 1980’s. He attended both università per i stranieri in Perugia and l’accademia delle belle arti in Florence, receiving a two-year certificate in 1976. He earned a Bachelor’s Degree in Art in 1974 and a Master of Arts Degree in sculpture in 1979 from University of Northern Colorado.
In 1983, Gino and his wife moved to Santa Fe, New Mexico, where they still reside. Gino initially worked at a foundry and an art gallery before starting his own business, enlarging and casting work for other artists. In 2002, he started his own gallery, Sculpture 619, located in the heart of the renowned Canyon Road gallery scene. Gino has traveled extensively doing art shows and fairs all over the United States and abroad. His sculpture is found in collections in Central and South America, Europe, Canada, and the United States.
“For a number of years I’ve been working on a series of pieces about how climbing plants, especially morning glories grow and tangle themselves into knots as they climb up on fences. That is where I received my first real notoriety as a sculptor. In searching for a new idea or concept to go along with the knots, the first of a series of transitional pieces appeared. They were based upon sudden, new growth appearing like a shaft out of the trunk of a seemingly dead tree, like cedar trees in particular. That was the inspiration for the Transition pieces. The core of a tree truncated with a new spiraling growth. The pieces are about regeneration and healing. I found that there is a really interesting dialogue between the bottom part that is kind of hollowed and the top, spiraling, lyrical feel culminating at the top. Diverging from the plant knots, the tree transitions allow for a modern interpretation of new ideas and new growth.”