Georgina Lewis  
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rappaccini's offspring

what happens
when you go inside

we make a mark and live in it



images of a future
without care

group project; not a DNA test

- an Illustrated Encyclopedia

the shut palace of the queen

recent common ancestor

The hedge set about the
vineyard: Bumpkin Island
Border Control




I didn't throw a rock through a window, I made a drawing

I'm interested in forms of interchange and the aberrations and novelties, intentional or not, introduced by the act of correspondence: what happens when one or more things come in contact with each other. These are dematerialized traces/residues, not sketches, with occasional brutal tears and other scars. I'm unconcerned with formal characteristics except as a by-product of the fabrication.

In the age of digital "perfection" I'm also drawn to the inherent rawness of mark making, coupled with the impossibility of reversal. There is no Command z. I find this imperfect medium a compelling method of examining this phenomenon and of facing my own fears of imperfection.

To make the works I rub paper-wrapped stones against a second graphite coated piece of paper, resulting in 2 "drawings" each a reflection of the other's influence and force. I also photograph the process and the artifacts. I think the photos look a bit violent: like barbed wire or hurt skin. At first I was shocked by them but I think they reflect the sometimes cruel nature of exchanges and barriers. We live in vacuums of our own making with odd interstices and junctures of influence.

top row: several drawing stones and closeups of a refletion drawing, front and back (both sides of one of the original graphite coated papers)
Paper, rubber bands, graphite. 2018.

middle: untitled
Color digital prints, acrylic paint, yellow plastic caution sign. 26"(w) x 40"(d) x 24"(h) . 2019.

below left: transfer 10
Color digital print. 20"(w) x 30"(d). 2020.

below right transfer 4
Color digital print. 20"(w) x 30"(d). 2018.