Miville paints both abstraction and portrait, in a diametrically opposed treatment. Contradictory, but nevertheless speaking to each other, in the end, in a completely complementary way.

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His abstract work mainly explores two trends from the mid-20th century, action painting and minimalism. His plastic influences are from the same period. The balance of power versus weightlessness is at the heart of his approach.

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The investment of the body is total when she paints; his gestures are visceral, grounded, complete and fiery, even almost brutal. She visualizes in a meditative way and launches intuitively in the same breath, not automatically. The result is refined and aesthetic, without completely covering the weightless raw cotton canvas.

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Inspired by architecture, both organic and urban; mass and volume coexist with balance, lines and light in his works. The architectural structure takes it out of its already circular natural movement. The spatial composition is, for Miville, the breathing of the painting. His paintings are mounted on false frames once painted, which will allow him to play with shapes and space. She composes her palette of acrylic pigments, mixes her own colors, however black and white are omnipresent in her work.

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Miville invites the viewer to invest in his painting in order to give it meaning and take ownership of its story. She thereby defines her definition of beauty which only appears through the feeling and the story evoked in the viewer through her pictorial work. According to her, minimalism influences our daily well-being.

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“The reason lies in a certain psychology of knowledge. When it comes to beauty, which is a modality of the absolute, we always start by feeling what we think; we only really understand what we first grasp through feeling. » Utility of beauty - philosophical prose, by Victor Hugo.

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The character and her psychology inhabit Miville, she is greatly inspired by German expressionism; its subjective aspect and its instinctive functioning.

Through portraiture, she develops the notion of identity and gender through a reflection that begins with photography. She draws a personal self-portrait, exaggerates it and then transforms the physical features in pencil on the canvas, then stages herself in a solitary manner. His figures are framed in chest close-up in order to focus on the face and so that the viewer pays attention to the emotions and psychology of the characters. Interaction is everything.

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Situated in an abstract “No mans land”, sometimes half-arrogant, half-blasé, inquisitive or melancholic, his portraits, whose gaze is most often fixed on the viewer, seem to know more than he does. Miville cultivates the strange, sometimes disturbing. The distortion of the line animates it, it reinterprets the notion of beauty whose aesthetic varies depending on the painting.

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Newly returning to oil, graphite takes its place energetically through its brushstroke. It takes on a unique and bold color palette, from Japanese red aka salmon to all tones of green. Miville translates in her own way, in the same spirit as the expressionists at the time, her anxiety about the world and society as she perceives it today.