Bel Miller was born in Porto Alegre (RS), where she lived until 1998, when she moved to São Paulo.
In 1998, she quit undergraduate Bussiness Administration course at Faculdade São Luís, because that was not what she desired for her future. In the same year, she enrolled in the Interior Design course at Escola Panamericana de Artes, graduating in 2000.
She was starting to enjoy working with art through painting, cutting, gluing, creating worlds in interior design. However, that was still not what she was looking for. In 2002, she enrolled in another class at the same school: Fine Arts and History of Art. Finally, she had found what she lacked: between brushes, colors, forms, smell of paint, she felt happy and motivated to continue, despite her technical limitations.
She was already painting live nude models, when a new teacher arrived at the last semester. Bel showed her new master her works up to that moment, and for her surprise, was advised to take on sculpture. Despite questioning his teacher, unsuccessfully, she felt compelled to try it. She was dedicated, but gave up at the end. She thought she had no talent for art and spent almost a year without producing any new pieces.
In 2005, searching for an art-related activity, she found Olaria Paulistana. She began taking a ceramic painting class with artesan Lúcia Eid. Curious, se took an interest in ceramic confection, learning to model clay and work with the turntable. She learned everything, from the baking process to the final stage of painting. There, she also fell in love with scissors and papers, in decoupage class. She began to cut, glue and create the most unique compositions in boxes, trays and ceramics, always guided by visual artist Ana Lúcia Galgani. She realised that she should pursue this technique. The collage artist was born. Since then, she never stopped creating. She fell in love with the possibilities of the technique, immersing in her own “fantasy” world, where almost everything is possible. Her theme of choice: “women”. A very vast and rich theme, an endless source of inspiration.
The next step was to address her concerns about wood, the material she chose as foundation for her creations. Her pieces are treated with anti-funguses, then receive a cover of lac, which she prepares herself, and are polished until reaching an impeccable, mirror-like texture. With the paper, she has an even bigger concern, using only the acid-free type proper for decoupage, mostly imported. She does a lot of research in her endless pursuit for quality materials. The paints and varnishes are also imported form overseas.
In 2006, she met the visual artist Juan José Balzi, who oriented her regarding composition and color. It was very useful, she learned how to look at her own work through a different perspective, knowing when it was balanced, or if, she should add or subtract elements. It was him who categorized her work as “dreamlike”. Bel started to move her own ways. She felt mature enough to create without the interference of others.
Bel believes it is time to expose her work to the public and the critics, and find their opinion on her “pasted women”.