As a child, Michael R. Mills dabbled in art classes and slow weekends spent copying illustrations out of magazines. “Sidewalk chalk was one of my great mediums,” he jokes. But it wasn’t until later in life that he discovered his passion for still life painting. He first started in water colors, before moving to oil paints at the suggestion of his father-in-law who bought him some of his first supplies. From there, he was off.

Mills’ first challenge was learning how his new medium behaves. His background in watercolor helped him understand layering and the infusion of color, but oil paint required a different sensitivity, especially in gauging how much to apply. Over time, he developed a preference for transparent pigments. As for subject matter, he admits his interests play a role: a self-described foodie, he’s drawn to still lifes. “I enjoy capturing still lifes because it seems to slow down the pace of life,” he reflects. “There is something very elegant about a still life.”

Mills’ artistic process often begins with a trip down the produce aisle, sketchbook in hand. “I look for new fruits or interesting color combinations,” he explains. Back in his home studio, he experiments with additional elements—cloth, utensils, glassware—carefully arranging them to build a composition. “I take reference photos as I go, so I can revisit anything I didn’t fully explore,” he adds.

From there, he turns to a panel lightly toned with burnt umber and begins blocking in color. “I try to work quickly, getting a sense of what the painting can become rather than perfecting every color right away,” he says. The final refinements come about a week later, once the initial layer has dried. Typically working in just two layers, Mills uses transparency to his advantage, drawing out the subtle, often overlooked colors hidden within shadow.

Mills paints with the seasons, choosing fresh, in-season ingredients that keep his work both grounded and visually engaging—florals in spring, ripe fruits in summer, and gourds in the fall. He’s drawn to the quiet simplicity of these subjects, as well as to the restrained elegance of 17th-century Dutch still lifes, a time when fewer distractions allowed for a more focused, contemplative approach to everyday objects. In fact, Mills often finds himself becoming a student of other artists, using details in other’s work to inspire his own paintings. “A certain brush mark or a lost edge between the subject and the background could be something that I take as a new idea into my own work. I’m fascinated with learning, and painting allows me to constantly be doing that—learning how to portray texture, convey shape, and interpret light on new surfaces,” he says. “It’s an ongoing challenge, and one that I don’t think anyone should ever fully solve.”

On Cape Cod, Mills has found a vibrant artistic community that continues to inspire and sustain him. One of his most memorable moments came when his work was featured in the Provincetown Art Association and Museum’s 12×12 Auction, where it caught the attention of gallerist Marla Rice of Rice Polak Gallery. Today, his paintings are exhibited in her gallery. “Provincetown is one of the best places I could have asked for my work to be shown,” Mills says. “There’s no shortage of galleries or people who truly love art. I feel very fortunate to be part of that community.”

Ultimately, Mills hopes his work helps viewers find new beauty, even in something familiar or simple, like a favorite piece of fruit. “I don’t think art needs to be striking to be captivating,” he says. “Create what you believe in.”  

Michael R. Mills’ work can be found at Rice Polak Gallery in Provincetown or online at mrmillsart.com.

~Allyson Plessner