**birdfur**

Boston Center for the Arts, 2019; Photo Credit: Melissa Blackall
Molded paper pulp, graphite, yellow plastic chain. 2019. From my installation we make a mark and live in it

drawing

Periodically I go back to drawing: because it's hard, because it pushes me to take risks, because it's a force of rematerialism and reckoning in the digital age, and because I like the sound.

Defining a conceptual ground for a non-representational drawing can be tough; sometimes I add photographs and objects, not so much for context as to open up a space for discourse. Many of my drawings function as documentation, or possibly even photographs: of actions and processes, and of objects and surfaces obscured by paper

Recent drawing projects include #desklabor, transfer, and the images contained in if you were going to make a book about dying trees (what would you call it).

images
above left: obstruction drawing: rock in soil.
One of a series of "drawings" made by placing paper on top of objects and rubbing the paper with graphite. 2018.

above right: untitled
Molded paper pulp, graphite, orange gaph tape. 2019.

below left: untitled
Molded paper pulp, graphite, orange gaph tape. 2019.

below right devil man (detail)
Graphite on paper. 2007.

	Georgina Lewis
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	projects we make a mark and live in it these things might kill me (or you too) transfer #desklabor images of a future without care group project; not a DNA test Moonfarming - an Illustrated Encyclopedia the shut palace of the queen - 24 HOUR POEM BARAGE recent common ancestor The hedge set about the vineyard: Bumpkin Island Border Control sound text drawing objects	Boston Center for the Arts, 2019; Photo Credit: Melissa Blackall Molded paper pulp, graphite, yellow plastic chain. 2019. From my installation we make a mark and live in it drawing Periodically I go back to drawing: because it's hard, because it pushes me to take risks, because it's a force of rematerialism and reckoning in the digital age, and because I like the sound. Defining a conceptual ground for a non-representational drawing can be tough; sometimes I add photographs and objects, not so much for context as to open up a space for discourse. Many of my drawings function as documentation, or possibly even photographs: of actions and processes, and of objects and surfaces obscured by paper Recent drawing projects include #desklabor, transfer, and the images contained in if you were going to make a book about dying trees (what would you call it). images above left: obstruction drawing: rock in soil. One of a series of "drawings" made by placing paper on top of objects and rubbing the paper with graphite. 2018. above right: untitled Molded paper pulp, graphite, orange gaph tape. 2019. below left: untitled Molded paper pulp, graphite, orange gaph tape. 2019. below right devil man (detail) Graphite on paper. 2007.