Georgina Lewis  
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these things might kill me
(or you too)

images of a future without care



group project; not a DNA test

- an Illustrated Encyclopedia

the shut palace of the queen


The hedge set about the
vineyard: Bumpkin Island
Border Control





older work


A series of experiments in which an initial impression is transferred to paper. I'm interested in forms of interchange and the aberrations and novelties, intentional or not, introduced by the act of mimesis. These are dematerialized traces/residues, not sketches, with occasional brutal tears and other scars. As with other drawing projects I'm unconcerned with formal characteristics except as an after-the-fact curator of the work. In the age of digital "perfection" I'm also drawn to the inherent glitchiness of drawing, coupled with the impossibility of reversal. There is no Command z. We live in vacuums of our own making with odd interstices and junctures/influence. I find this imperfect medium a compelling method of examining this phenomenon.

One of the sets is generated by rubbing paper-wrapped stones against a second graphite coated piece of paper, sometimes subsequently removing the paper from the stone and other times leaving the stone encased. I also photograph the process and the artifacts, the images extending beyond the sphere of documentation.

A second series of images is generated by using graphite to reveal objects and surfaces obscured by the paper placed on top of them. Instances include mounded snow, a chipmunk hole, and rocks protruding from the ground.

I'm working on a book, or maybe it's an installation, that couples drawings from the first set (the stone drawings) with images from Rembrandt's Night Watch, as well as text, drawings, and photographs (all mine).

- November 2018