Creative Practice

Georgina’s personal creative practice focusses on an investigation into ‘place.’ Looking at notions of non-place, inbetweeness and multi-dimensionality, she uses practice based research methods in varied mediums to explore these ideas. Georgina is currently completing an MA in Art and Social Practice at UHI. This section both showcases a portfolio of archive works and new projects completed through her MA development.   

<h2>The Wind, Mountain and I (film still series) 2022</h2> <p><!-- wp:paragraph --> <p>In this live action work I wanted to interrogate the potential reciprocity and/or collaboration that we, as humans, negotiate as we enter into a relationship with the world and its matter.<br></p> <!-- /wp:paragraph --></p>

The Wind, Mountain and I (film still series) 2022

In this ...

<h2>The Wind, Mountain and I (film still series), 2022</h2> <p><!-- wp:paragraph --> <p>‘Making is a correspondence between maker and material’ (Tim, Ingold 2013)</p> <!-- /wp:paragraph --> <!-- wp:paragraph --> <p>To succumb to both the power of the elements, the directional control of having limited visibility and the rough landscape beneath my feet felt genuine and freeing. The work began to shape itself - I was merely a collaborator responding to my surroundings and the  materials invited. The silk material represents my Indian heritage - an aspect of my ethnicity which I am still continuing to learn about and to understand. </p> <!-- /wp:paragraph --></p>

The Wind, Mountain and I (film still series), 2022

‘Making is ...

<h2>The Wind, Mountain and I, 2022</h2> <p><!-- wp:paragraph --> <p>This live performance work was created whilst thinking through 18th C ideas of the sublime (Edmund Burke). Thoughts of transformative experience, scale, discomfort and awe prevailed. It also references Roland Hepburn’s ideas (1966) around the immersive appreciation of nature, walking in the landscape with the elements as a non-cognitive experience that emphasises sensory engagement. </p> <!-- /wp:paragraph --> <!-- wp:paragraph --> <p>To make this work I walked three lengths of silk up on to the top of a mountain in southern Wales. I found an old tree branch and used this to connect the threads as I walked, trailing the silk in the wind behind me.</p> <!-- /wp:paragraph --> <!-- wp:paragraph --> <p>As I walked it became apparent how little control I had over this process. The material, the wind and the landscape taking over, creating shapes, lines, routes across the landscape as I twisted and turned to navigate myself around these emerging patterns. </p> <!-- /wp:paragraph --></p>

The Wind, Mountain and I, 2022

This live ...

<h2>Extraction Study 1, 2022</h2> <p><!-- wp:paragraph --> <p>The 'extraction study' series was created using performative drawings or 'extracted' marks on different fragments of stone. The marks were made using symbolic lengths of time - a ratio (minutes to days) of the time that particular stone had taken to reach the stonemason's yard from its original place of mining and extraction. </p> <!-- /wp:paragraph --> <!-- wp:paragraph --> <p>Creating this work I was interested in the idea of using the symbolism for extraction in a durational performance to criticise the harmful extraction of stones by human hands. </p> <!-- /wp:paragraph --></p>

Extraction Study 1, 2022

The ...

<h2>Fragments, 2020</h2> <p> <!-- wp:paragraph --> <p>Mixed colour monographs on somerset satin</p> <!-- /wp:paragraph --></p>

Fragments, 2020

Mixed ...

<h2>Displacement (time-study) 2022</h2> <p></p>

Displacement (time-study) 2022

<h2>Extraction Study (composite), 2022</h2> <p><!-- wp:paragraph --> <p>The 'extraction study' series was created using performative drawings or 'extracted' marks on different fragments of stone. The marks were made using symbolic lengths of time - a ratio (minutes to days) of the time that particular stone had taken to reach the stonemason's yard from its original place of mining and extraction. </p> <!-- /wp:paragraph --> <!-- wp:paragraph --> <p>Creating this work I was interested in the idea of using the symbolism for extraction in a durational performance to criticise the harmful extraction of stones by human hands. </p> <!-- /wp:paragraph --></p>

Extraction Study (composite), 2022

The ...

<h2>Hyperreal Vista (part 2), 2012</h2> <p></p>

Hyperreal Vista (part 2), 2012

<h2>Extraction Study 2, 2022</h2> <p></p>

Extraction Study 2, 2022

<h2>Extraction Study 4, 2022</h2> <p><!-- wp:paragraph --> <p>The 'extraction study' series was created using performative drawings or 'extracted' marks on different fragments of stone. The marks were made using symbolic lengths of time - a ratio (minutes to days) of the time that particular stone had taken to reach the stonemason's yard from its original place of mining and extraction. </p> <!-- /wp:paragraph --> <!-- wp:paragraph --> <p>Creating this work I was interested in the idea of using the symbolism for extraction in a durational performance to criticise the harmful extraction of stones by human hands. </p> <!-- /wp:paragraph --></p>

Extraction Study 4, 2022

The ...

<h2>Happy Landing (regeneration via felting), 2012</h2> <p><!-- wp:paragraph --> <p>Striking orange felt covers a pre-used wooden palette that is stripped of its functional purpose and stood upright in an open space. From a frontal distance the striking colour of the felted geometric lines creates a flat effect, as the three dimensional object loses all depth. Responding and reflecting the urban shadow lines that leak in to the exhibition space, the piece glows as if on fire with natural light. It transmits a soft orange tint to the surrounding walls, as if taking command of the space and leaking its colour all around.</p> <!-- /wp:paragraph --></p>

Happy Landing (regeneration via felting), 2012

Striking ...

<h2>Extraction Study 3, 2022</h2> <p><!-- wp:paragraph --> <p>The 'extraction study' series was created using performative drawings or 'extracted' marks on different fragments of stone. The marks were made using symbolic lengths of time - a ratio (minutes to days) of the time that particular stone had taken to reach the stonemason's yard from its original place of mining and extraction. </p> <!-- /wp:paragraph --> <!-- wp:paragraph --> <p>Creating this work I was interested in the idea of using the symbolism for extraction in a durational performance to criticise the harmful extraction of stones by human hands. </p> <!-- /wp:paragraph --></p>

Extraction Study 3, 2022

The ...

<h2>Extraction Study (composite 2), 2022</h2> <p><!-- wp:paragraph --> <p>The 'extraction study' series was created using performative drawings or 'extracted' marks on different fragments of stone. The marks were made using symbolic lengths of time - a ratio (minutes to days) of the time that particular stone had taken to reach the stonemason's yard from its original place of mining and extraction. </p> <!-- /wp:paragraph --> <!-- wp:paragraph --> <p>Creating this work I was interested in the idea of using the symbolism for extraction in a durational performance to criticise the harmful extraction of stones by human hands. </p> <!-- /wp:paragraph --></p>

Extraction Study (composite 2), 2022

The ...

<h2>Piaza-del-limbo, Firenze, 2012</h2> <p></p>

Piaza-del-limbo, Firenze, 2012

<h2>In flux, 2012</h2> <p><!-- wp:paragraph --> <p>One colour screen print on perspex </p> <!-- /wp:paragraph --></p>

In flux, 2012

One colour ...

<h2>Drawing in space (preparatory sketch) 2011</h2> <p><!-- wp:paragraph --> <p><strong>Here felted line is physical and playful. Balanced in a changeable and fluid composition, the component parts can easily be spatially ‘drawn’ into new arrangements.</strong></p> <!-- /wp:paragraph --></p>

Drawing in space (preparatory sketch) 2011

Here felted

<h2>Piaza-del-limbo, Firenze (detail) 2012</h2> <p></p>

Piaza-del-limbo, Firenze (detail) 2012

<h2>Melted Sky, 2012</h2> <p></p>

Melted Sky, 2012

<h2>Hyperreal Vistas, 2012</h2> <p><!-- wp:paragraph --> <p>photographic montage</p> <!-- /wp:paragraph --></p>

Hyperreal Vistas, 2012

...

<h2>Hyperreal Vistas, 2012</h2> <p></p>

Hyperreal Vistas, 2012

<h2>There’s no place like home, 2011</h2> <p></p>

There’s no place like home, 2011

<h2>Digital Skin, film still, 2012</h2> <p><!-- wp:paragraph --> <p>Digital Scars was the end result of a collaborative project undertaken at Inspace gallery, Edinburgh. Varied still shots of urban and organic cracks in the cityscape provided the purposely fragmented content for a slow moving five screen digital film work. All of the five screens are played simultaneously for a sixty second period. During this time the imagery disconcertingly edges its way into the neighbouring screen’s space, anthropomorphising the voids, and creating a suspiciously mysterious living scene from the mundane and unnoticed.</p> <!-- /wp:paragraph --></p>

Digital Skin, film still, 2012

Digital ...

<h2>Hyperreal Vistas, 2012</h2> <p><!-- wp:paragraph --> <p>This photographic series floats between mediums as I flatten the once architecturally tangible into the illusionistic, confusing perception and dimension to create a ‘hyper-real’ effect.</p> <!-- /wp:paragraph --></p>

Hyperreal Vistas, 2012

This ...

<h2>Fragments (space study), 2010</h2> <p></p>

Fragments (space study), 2010

<h2>Landscape in Line, 2012</h2> <p><!-- wp:paragraph --> <p>Mixed media installation, screenprint & felt</p> <!-- /wp:paragraph --></p>

Landscape in Line, 2012

Mixed media

<h2>Sky earth and shadows, 2012</h2> <p></p>

Sky earth and shadows, 2012

<h2>Urban Tapestry, 2012</h2> <p></p>

Urban Tapestry, 2012

<h2>Landscape in Line (practice study) 2011</h2> <p></p>

Landscape in Line (practice study) 2011

<h2>Circular Tectonics (orange), 2011</h2> <p> <!-- wp:paragraph --> <p>Screenprint with fade detail on somerset satin</p> <!-- /wp:paragraph --></p>

Circular Tectonics (orange), 2011

Screenprint

<h2>Boboli Trees, 2013</h2> <p><!-- wp:paragraph --> <p>Photographic montage</p> <!-- /wp:paragraph --></p>

Boboli Trees, 2013

...

<h2>Landscape in Line (early sketch)</h2> <p> <!-- wp:paragraph --> <p>One colour screenprint on somerset satin</p> <!-- /wp:paragraph --></p>

Landscape in Line (early sketch)

One colour ...

<h2>Circular Tectonics, 2011</h2> <p></p>

Circular Tectonics, 2011

<h2>Always look up, 2011</h2> <p> <!-- wp:paragraph --> <p></p> <!-- /wp:paragraph --></p>

Always look up, 2011

<h2>Terrain, 2011</h2> <p> <!-- wp:paragraph --> <p>Mixed colour screen print on somerset satin</p> <!-- /wp:paragraph --></p>

Terrain, 2011

Mixed ...

My personal creative practice is a deep dive investigation into notions of ‘place’ and ‘non-place,’ exploring ideas of ‘in-betweenness’, multi-dimensionality, displacement and deep-time.

Georgina Bolton

Connect