combined digital technologies, traditional painting media, and Oil on canvas
Based in London
Oil paintings by contemporary painter based in London Georgia Dymock combine digital technologies and traditional painting media to explore the digital-analog dichotomy.
“Being created and exhibited in flux between digital and physical spaces, I see my paintings existing as entities that challenge traditional monolithic understandings of this ancient art form.
Using drawings from my sketchbook, I translate shapes and gestures into my digital workspace where I refine the imagery further, rendering smooth surfaces and saturated colour that are native to digital aesthetics. Later in my process, I embrace a paradoxical engagement that utilizes and rejects digital paintings as I exchange this seamless digital image for an analogue translation where my physical traces as an artist are present.“
… Among the Interview
“디지털 공간 세계속 표현의 창조는 기존 예술 표현에 대한 의식을 깸으로써 획일적인 이해에 도전하는 존재로 각인시킬 수 있다고 봅니다.
초기 2D 렌더링 과정을 통해 피규어의 매우 명확한 표현을 구성하며 그려낸 제스처의 이미지를 더욱 정교하게 다듬어 디지털 작업으로 변환하고, 디지털 고유의 매끄러운 표면과 채도색으로 다시 이미지를 구현해요. 독창적이면서 부드러운 디지털 그림을 물리적 흔적이 있는 아날로그 형태로 변형시키면서, 디지털 그림을 활용하고 거부하는 역설적인 참여를 받아들입니다.”
런던에 기반을 둔 현대미술 작가 Georgia Dymock의 그림은 유화와 디지털 기술, 전통적인 회화 매체를 결합하여 디지털-아날로그 를 오간다. Gergia Dymock 그림을 통해 디지털 세계에서 인간이 된다는 것이 무엇을 의미하는지 생각해 본다.
Before the interview, please let us know about yourself.
How would you define your work? Can you tell us about the process in short?
Being created and exhibited in flux between digital and physical spaces, I see my paintings existing as entities that challenge traditional monolithic understandings of this ancient art form.
Using drawings from my sketchbook, I translate shapes and gestures into my digital workspace where I refine the imagery further, rendering smooth surfaces and saturated colour that are native to digital aesthetics. Later in my process, I embrace a paradoxical engagement that utilizes and rejects digital paintings as I exchange this seamless digital image for an analogue translation where my physical traces as an artist are present.
I got so impressed with your work. Most characters in work are expressed as naked human beings, What does this human figure mean? What leads you to depict figures like the main character in paintings?
From a young age figurative painting has inspired and fascinated me visually and emotionally, as this is the art form, I most admire it seems natural I express and navigate my artistic interests through this vehicle.
I see the recent renaissance of figurative painting as a consequence of the explosion of Instagram and other algorithmic tools, through which our visual identities are constantly being negotiated. Drawing upon anthropomorphic entities as the focus of my work, I intend to consider what it means to be human in our digital world.
I’d like to know more about your signature character. The body is facing frontal, but the eyes don’t seem like staring straightforward in paintings. Is there a reason why you expressed the characters like this?
I see this as a response to the classical female nude in western art history, where the female body tends to be depicted reclining, not looking directly at the viewer. In paintings that participate with such themes, I intend to invert and play with this traditional visual language, with my use of a bright saturated palette, for example.
Not only unique portraits, but the expression of colors and combination backgrounds is also amazing. Where do you get inspiration for drawing?
How do you come up with ideas?
I feel constantly informed by the environment around me, in both physical and digital spaces. I can be inspired and informed from multiple sources, from old master paintings to graphic design advertising in public spaces.
Working in tandem with a digital and physical canvas I can build up layers over time, adding and subjecting elements as I work out the composition of the painting.
Is there any particular material or expression technique that you consider important in drawing?
What are your material processes?
A lot of my work begins through freehand drawings in my sketchbook, working in this way enables me to figure out gesture lines and composition. These visual ideas are further refined as I work in a digital space.
Later in the process, I enjoy blowing up the scale of the imagery as I translate it through oil paint onto a large canvas support. The endurance the scale of this stage requires emphasizes the physicality of the final painterly process.
Is there any particular story or meaning behind each artwork?
If each painting has a different story, what kind of theme do you work on?
As a visual language, I see each work as connected and informative to the next. I enjoy taking a motif or structure from one piece and working this into the composition of the painting I’m working on at that time.
I like to conceive a canvas as an interlocutor that’s in dialogue not only with my own actions outside of the canvas but also historical figures from whom my motifs are derived.
How are your surroundings affecting your practice?
I feel like I am constantly being informed by my surroundings, from the physical space I’m working in, to the interactions I have. Since coming out of lockdown, I’ve enjoyed moving back to London and being able to immerse myself in the cultural spaces the city has to offer. From institutional to commercial gallery settings, I feel grateful to have access to such a rich resource of cultural history, where I can feel inspiration from the old masters as well as emerging and established contemporary artists.
Is there something that you hope the viewer takes away from your paintings?
Through the process of making, I intend to question the stability of cultural binaries drawn between digital and physical worlds, as I combine a physically enduring painterly practice with the latest technologies available to me. I wish to complicate and pluralize the idea of this medium to challenge its monolithic articulations, in hope to encourage a more nuanced framework for considering this ancient art form.
What are your plans for the near future?
As well as continuing my practice in my London studio, I will start my MFA in Painting at the Slade School of Fine Art later this month.
In October, I’ll be part of NFT BAZL’s upcoming show in Dubai, where my paintings will be available to collect as digital and physical assets. I’m so excited to be part of this innovative exhibition as it seeks to meet the core values and needs of established and emerging collectors alike.
AMPLMAGAZINE – 11/17/2021