After the disbanding of the company, Graeme Miller continued to work to produce a series of his own stage works including Dungeness: the Desert in the Garden (ICA, 1987), A Girl Skipping (1990) and The Desire Paths (1992). Some of these works involved the importing of material from the landscape into the theatre. This way of working formed a line of interest in staging places that took Graeme from the stage into the landscape. His subsequent works deal with notions of place, and often involve participation in particular sites. The Sound Observatory in Birmingham (1992) was a sonic space at the heart of a network of loci generated by Islamic geometry that made a contemplative and public platform that refracted the city. This was followed by other civic works that include Feet of Memory, Boots of Nottingham (1995), Reconnaissance (with Mary Lemley 2000) and Overhead Projection (2000).

His ongoing and enduring installation of 20 radio transmitters in East London, LINKED (2003 - ), broadcasts voices along the margins of the M11 Link Road, testifying the presence of 500 homes demolished for the road’s construction. This work will continue indefinitely.

Graeme continues to make works where the citizen and often, though not exclusively, the pedestrian act as the sensitive emulsion for looking at the process of making and remaking shared space. Bassline (Vienna, 2004) charted a single 50 minute journey made by 11 citizens and a double-bass player through the city. His earlier work Listening Ground, Lost Acres (with Mary Lemley, Salisbury Festival/Artangel, 1994) created an open tissue of routes across 100 square miles of landscape around Salisbury. Graeme’s recent installation Beheld, which documents sites where stowaways have fallen from aircraft, continues to tour internationally. Video works including Lost Sound, (a collaboration with artist film-maker John Smith), and Lonesome Way continue to be screened. New work includes Crepuscular Manoeuvres and Periphery both created during his residency in Paris in 2006.

He continues to compose and design sound for dance, film, TV and radio with a series of credits for dance and animation films with choreographers and film makers including: Yolande Snaith/Ross McGibbon (Level of Spirit, Swinger, Tablecloth Garden); Rosemary Lee/Peter Anderson (boy, Greenman, Infanta); Miranda Pennell (Tattoo, Human Radio, Magnetic North) and Ian Bourn (Black White & Green, Security). Obscurely, he co-wrote the theme and incidental music to the cult 80s TV animation The Moomins. He has recently staged Jocelyn Pook’s award winning Speaking in Tunes and Peter Wiegold’s Prom commission, He is Armour’d Without, at the Albert Hall.