There was an intriguing contrast between those shabby
abandoned houses and the aspirational, starry-eyed Hollywood images tacked up
on their walls. You could say the same of Miller’s paintings. The comic book
hero in They Go is gallant but fading; old paper peels around his face,
and the text above him reads “WHISPER”—a word that seems at odds with his position atop a horse in raucous mid-gallop. In Eight Ball, there’s a
similar divide between glamour and decay: The beautiful woman looks like a
magazine pin-up, and she’s juxtaposed with a sign for the Eight Ball Pool Room.
The sign, and maybe the venue itself, has seen better days. It doesn’t seem like
the kind of place for a woman like that.