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Georgina Carter

Georgina’s practice focuses upon the portrayal of the brushstroke through sculptural painting and installation. Her work emphasises the significance and independence of the brushstroke, exploring its qualities and how they can be expanded outside of the painting to embody its full phenomenological potential. Treating brushstrokes in a sculptural form allows audiences to interact with them in a way which manipulates attitudes and considerations for the gestural marks put forth by artists. Her method demands for a delicate coordination between the artist’s agency and the agency of the paint itself, working together to create authentic floating strokes that enable them to live separately from surfaces, of which have now been digitised to maintain the engagement of movement and perspective.

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The Brushstroke

An embodiment of artist and truth

An embodiment of artist and truth

An entity which prevails

An entity which prevails

Throughout the course of my Fine Art Degree, my work intended for a focus upon the physicality of brushstrokes. By emphasising the unique materiality and tactile qualities of 3D brushstrokes, audiences would be encouraged to form phenomenological connections with individual brushstroke entities, rather than resort to habitual attitudes for generalising a cohort of artist marks. Presenting sculptural paintings through installation environments, the works simulate paintings and brushstrokes coming to life, free of their surfaces.

The origins of my work derive from Thing Theory and Phenomenology, provoked also by the technological advancements which allow digital brushstrokes to adopt a surreal flatness amongst screens. This led towards my concentration upon the materiality of the brushstroke and the methodological drive for pushing the coordination between artist agency and paint's own to its limits. Transitioning to a digital format has therefore paved different paths for my practice. 

Moving Strokes

Within the Paintings: Traditional to Contemporary

These digital reimaginings of previous pieces animate the agency and independance of brushstrokes in a way which draws together the still observation of a painting via an online platform and the freedom they possess. The visual effect is uncanny, forming illusionary responses which blurs between habitual observation and closer analysis.

The pieces below animate newer works which focus upon the portayal of the brushstroke's surreal environment through flat surfaces, as well as Virtual Reality. 
Hover above these pieces to uncover the life of brushstrokes.

GEORGINA CARTER

A mark made by a 
paintbrush drawn across a surface

A mark made by a 
paintbrush drawn across a surface

Moving Strokes is a digital series showcasing the translations of past pieces. Highlighting their 3 dimensional brushstroke structures through movement allows the individual strokes to engage with responses only technological advances are capable of. The removal of physical interaction of audiences mean that these pieces rely upon their own movements to emphasise the life of brushstrokes

This installation presents sculpural brushstrokes which derive from traditional and contemporary colour palettes to show the brushstroke's prevalence throughout art, travelling through history. The installation mimics the expanson and deconstruction of paintings to allow stronger interaction between audiences and brushstrokes.

Un/Still Life (2019)
Mixed Media

Swarm (2019)
Mixed Media

Deconstructing Figure (2019)
Oil, Acrylic, Medium on MDF

Mass (2019)
Acrylic on Canvas

Sea of Strokes (2019) 
Oil on Canvas

Un/Still Life VR (2019)
Virtual Reality

A brushstroke is a preserved artifact, withholding the artist's presence and embodying ideas, emotions and truths. Capturing moments within frames of time, its value is immeasurable within art.

Digitally animating these frozen moments provide a revealing abstraction which paintings otherwise cannot replicate. They do not rely upon our physical investigation of them to be able to come alive, separating themselves from the confines of both traditional and still digital surfaces.

Traditional to Contemporary (2020)
Oil on Canvas

 

 

 

 

 

 

Georgina Carter
Secretary of Borderless 2020, Lancaster University

Contact: g.carterarts@gmail.com
View more on Instagram: @gcarter_arts

Contact for Prices and Commissions

Within the Paintings: Traditional to Contemporary (2020)
Acrylic, Medium, Canvas, Wire, Fishing line

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