Daisy Miller’s practice examines how images and objects hold, distort and unsettle memory. Working through semi-figurative painting, she approaches landscape and artefact not as fixed subjects, but as fragments suspended between presence and disappearance. Forms appear cropped, isolated or partially obscured, held within spatial fields that feel both inhabited and uncertain. Her work draws on archival material, lived experience and observed sites, yet resists direct illustration. When an image is displaced from its original context and brought into paint, it no longer belongs wholly to the past or the present. Instead, it occupies a threshold, a space where meaning remains unstable and open to reinterpretation. Miller is interested in how structures endure materially while their significance shifts over time. Stone, gesture, shadow and horizon become carriers of tension rather than description. Painting becomes a way of testing how long an image can hover before it resolves or dissolves. Through restraint and careful reduction, she constructs quiet, emotionally charged spaces in which memory is neither preserved nor fixed, but continually reconfigured. Her work asks how a place, an object or a figure can persist, even as its meaning remains unsettled.