Traditionally, the medium of ‘transfer’ is used to print imagery onto fabric. Georgia chose to use a variation of this technique during her residency at OUTPOST, transferring each print directly onto the walls of her studio. The result is a series of vulnerable and temporary frescoes, depicting ordinary and fragile moments of everyday life.

The process is repetitive and destructive, pushing against the usual precise and technical nature of printmaking. In the place of an edition of prints these works are inherently fleeting, unpredictable and impermanent. There is a lovely irony to their softened appearance, as though each mural has become worn down by time, when in fact it is the process of creation that destroys each print.

The subject matter of each mural is lifted from the interiors of Georgia’s temporary home during her residency month in Norwich. Her painted figures pause in a moment of peace, surrounded by a fragmented sanctuary. The gentle, comfortable nature of these spaces softens as though absorbed by time or disaster, like the brightly chipped frescoes guarding the walls of Herculaneum and Pompeii.

For Georgia the mural-making process has been one of play, juxtaposition and irony. Something new is made to imitate something aged; a temporary installation becomes impossible to remove. It is in this incongruity Georgia finds beauty, a catharsis in mistranslation.  

Corners Lined with Silver marked the first and last time Georgia’s murals were on view, a fleeting exposure before total erasure. 

To compliment her mural installation Georgia created nine print editions. Each edition highlights elements of texture and form lifted from her murals that the artist wished to preserve. Intimate, colourful ochre and cyan interiors abstracted through the grainy medium of risographic duplication.