Dartmoor Tiger

Risograph on archival Munken Pure paper, edition of 50
21cm x 14.8cm

Since graduating with a BA in Fine Art: Painting and Printmaking from Glasgow School of Art in 2018 Georgia has championed and taught sustainable forms of contemporary printmaking. Highlights from her practice over the past twelve months include exhibiting a solo-show of large, transient transfer-print frescoes in collaboration with Outpost Gallery as their artist in residence in East Anglia, and winning the East London Printmakers’ Studio Bursary Award for talented emerging artists. Georgia’s prints have been selected for the Royal Academy Summer Exhibition 2023 and Woolwich Contemporary Print Fair 2023.

As a printmaker and muralist Georgia uses her art to unravel the interiors she moves through and lives within. She dissolves and dramatises everyday rooms and corridors, questioning notions of intimacy, belonging and confinement. Within these scenes memory exists as colour alone, illuminated by the chimerical tangle of curiosity and longing that prompts each artwork.

Georgia’s sustainably produced risograph edition ‘Dartmoor Tiger’ was designed in response to a beautiful house she spent time in whilst on holiday in Devon last year. Georgia chose to print with warm sunflower and red inks, influenced by the appeal of winter light infusing the shabby grandeur of her temporary home. Her tiger is a gentle keepsake lifted from a place of literary sanctuary she remembers from her childhood, Judith Kerr’s brilliant The Tiger Who Came To Tea.

As an artist Georgia champions sustainable printmaking processes such as risography, a mechanised form of stencil printing with a more climate conscious appeal than its traditional or digital counterparts. While she primarily uses contemporary mediums of replication within her practice, Georgia’s knowledge of traditional printmaking strongly informs her mark-making processes. With each new edition she generates an organic and intuitive creative dialogue, designed to challenge the stereotypical view of risography as a ‘pop’ or ‘kitsch’ medium. Through this exchange she highlights the subtle possibilities of colour and texture that can be achieved using sustainable soya-based inks, bridging the divide between fine art duplication and more accessible printmaking mediums.

Community engagement is a massive part of Georgia’s practice. She currently teaches risography in collaboration with The Art Station, a charity supporting creative outreach in rural East Anglia. Her role within the charity involves the supervision of printmaking inductions, open-access sessions, workshops and residencies with adults and children.