Born 1960, London UK
Lives and works in South London
City & Guilds of London Art School
Royal Drawing School, Drawing Year 2004
Press Officer, Thames and Hudson 1980s
Press Officer, Anthony d’Offay Gallery 1984-86
EXHIBITIONS AND RESIDENCIES
John Moores Painting Prize 2020, Walker Art Gallery, February-July 2021
BP Portrait Award, National Portrait Gallery/Aberdeen Art Gallery 2020-21
Residency, Dumfries House, Ayrshire, Royal Drawing School, 2020 (and 2014)
Residency, Bangkok, Thailand 2016 and 2019
Moneytree Bristol, marking anniversary of the Lehman Brothers collapse, 2018
Painter-Stainers Prize, London 2017
Chimera, Hanbury Hall, Spitalfields, London 2017
Royal Academy Summer Exhibition, London 2016
Poltimore Festival Hijacked Curator and Exhibitor, Exeter 2016
Jerwood Drawing Prize, London 2015
Legend, Morgan solo show, London 2015
Silent Auction for Parkinsons Royal College of Art, London 2014
Curator Artists of the River Pageant, Mayor’s Thames Festival 2013
Curator of Artists of the Pageant at Turner’s House in Twickenham 2013
Thamescapes exhibition, London, with Phoebe Cope, 2012
Artist in Residence at City of London School 2011-2012
Winner of the Royal Drawing School/Watercolours+Works on Paper Drawing Competition, Science Museum, February 2011
The Big Draw: Self-Portrait Drawing Show, Chapel Row Gallery, Bath 2010
Art Against Knives, London 2009
Discerning Eye’, London 2008
Work in public and private collections, including the Art Collection of the Science Museum.
TEACHING AND CURATING
Tutor New Fine Art Foundation Course, Royal Drawing School 2012-20
Director non profit international drawing club, Larkhall Art Club.
Mary Millner is a multi-disciplinary artist, with a foundation in drawing. Her research projects include residencies in Bangkok, Ayrshire and Vauxhall.
‘I am interested in the persistence of identity politics; from the multi-cultural perspective but in a self-reliant, cross-border viewpoint. My pictures include references to
territory and landscape. I look for how the body in art carries political messages and how contemporary art continues to exploit traditional techniques and art history.
I am positive about a future of art collaborations across boarders and disciplines’.