The Standard: Tell us about your inspiration.
Chloé Kelly Miller: My inspiration has always been rooted in humanity. I studied psychology and earned a diploma five years ago, and since then I’ve been drawn to psychoanalysis, the human mind, intuition, and destiny. Those ideas naturally led me to expressive, dynamic forms in my paintings—and, more recently, to stone sculpture.
Over the past two years, working with stone has allowed my artistic language to evolve across mediums. Whether it’s paint, mixed media, spray, or sculpture, my work centers people: the strategic mind, relationships, how we connect.
I often explore French themes because of my background, but wherever I work, I try to remain true to myself and the place. Creating for The Standard, Pattaya meant embracing Thai culture—its color, symbolism, and artistic heritage. I read, researched, and spoke with Thai people to understand and show respect. This is my third visit to Thailand. Each time, my appreciation deepens. Sculpting here feels meaningful because it keeps opening new perspectives.
The Standard: What influenced your concept when you first arrived at The Standard, Pattaya Na Jomtien?
Chloé Kelly Miller: Before I came, the team shared images—almost like a projection. I could already feel the palette, especially the white. They also asked for color, which aligns with The Standard’s global language and with my own practice.
When I arrived, I said, “Wow!” The building was larger than I’d imagined. Scale became the central question, especially the base. We debated 1.2 meters at first, but it felt too small for the architectural rhythm. We shifted to 1.5 meters; it sits better in the garden and the flow of the space.
White inspired me most—it felt peaceful. Then there was nature: the green. I loved the idea of setting the sculpture at the garden’s heart, letting color sing against green, white, and sky. I’m sensitive to energy and people—so being here, speaking with the team, working on site, all of that shaped the piece. We’re still in process; I’m carving first, listening to the stone, and then I’ll decide how color should enter.
The Standard: Does your process change between headpieces and large-scale installations?
Chloé Kelly Miller: The material and outcome shift, but the core is the same: the body is the real tool. We use pens and brushes, yes—but it’s our bodies in space that measure scale. When you stand where the piece will live, you immediately understand size and proportion. That’s why I needed to be in Pattaya.
For large work especially, momentum matters. Photos can’t convey weight or atmosphere. Being on site lets you adapt the art to the space—and helps the work tell a story with the place, not just sit in it.
A Family of Forms
The Standard: What message do you hope guests take from the installation?
Chloé Kelly Miller: Humans are the center of my work. I created a configuration of the body—faces, many eyes, limbs of different lengths—because we’re not symmetrical. I was thinking about The Standard’s guests, about family. That’s why there are two figures: one child and one adult. I wanted a place that welcomes families, that invites people to rest, to feel good, to create memories. Almost like saying: Welcome home.
There will be vibrant color between the white building and the green garden. The kids’ club sits behind the installation, which I love—my work speaks to everyone, children and adults. The message is happiness, joy, good feelings, and love.
The Standard: How do technique and space connect in this project?
Chloé Kelly Miller: For me, it’s all about color and form, and the order matters. I work in three steps: sculpt the stone, bring in color, then engrave. The architecture guided changes to scale, because the work needed to create that “wow” and curiosity from the very beginning.
We built two sculptures—child and adult. They’re human scale, but each generates a different mood. What I love about monumental work is how it changes as you move. Up close, you feel texture. From afar, you see the palette and silhouette. As you circle, new versions appear: maybe two hands from one angle, then four or six from another. The viewer completes the work with their movement.
The Standard: Your most memorable moment?
Chloé Kelly Miller: The kindness of Thai people. Always. While I was working in the parking area, people approached to talk, and we used ChatGPT to create memories together. It touched me deeply. And the nature—so many plants, so many atmospheres. Traveling through Thailand, the sea, the sun, the weather—they all change how you feel.
The Standard: Dream collaboration?
Chloé Kelly Miller: I want to keep working with stone here. Thailand’s granite is beautiful. I’d love to create more sculptures—maybe another collaboration with The Standard, with my MozART Advisory collection, or projects in France or Japan. My dream is simple: keep creating, forever.
Last Word: “I’ve been here three days, and I feel so happy. Thank you for the hospitality. I hope our piece becomes part of the hotel’s story—and that it brings a good feeling to everyone who meets it.”
