Approved: 25.09.2020

Georgia Dymock

Artist

Approved: 25.09.2020

We are living in a world where understandings of personhood and identity are changing as we flee our physical corporeal bodies to occupy non-physical abstract spaces. My practice explores the tension between digital and physical worlds as I consider the physical body as a sensitive pulsing vessel that is in conversation with a digital body whose activity is seamlessly directed towards connectivity.

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  • Location: London
 

Artist Statement

We are living in a world where understandings of personhood and identity are changing as we flee our physical corporeal bodies to occupy non-physical abstract spaces. My practice explores the tension between digital and physical worlds as I consider the physical body as a sensitive pulsing vessel that is in conversation with a digital body whose activity is seamlessly directed towards connectivity. My understanding of digital colonisation has been informed by the work of Franco “Bifo” Beradi whose writing has helped me consider the deep sociological and psychological implications of this, such as our disconnection with sentient ways of living in an ongoing pursuit of digital connectivity and the effects of de-corporealization on traditionally conceived imperatives for human life such as depletion of libidinal energy and capacity for emotional elaboration. Considering myself as a hybrid subject that engages in both digital and analogue utterances, it is important for me to combine digital and physical modes of image creation. The painterly aspect of my practice is both a negation of digital systems and an attempt to understand them. I blow up the size of digital images as I paint them on canvas to emphasise the physicality of painting. My use of oil paint is a conscious effort to move away from the flat and to add towards the volume that these forms describe. Oil paint responds to my need to build sculptural structures and to anchor each as immutable objects. I am visually fascinated by Louis Bonnet’s oil paintings that depict huge voluptuous bodies, these entities lay with themes of humour and absurdity while simulating the awkward experience of the physical body. Bonnets work appeals in particular female body in particular and the modes of experience that this embodies: shame and humiliation. Themes of absurdity and corporeal tension arise in my own practice as my work frequently depicts singular “quasi subjects”, visual forms that appeal to hybridity and ambiguity. These strange configurations of bodily representation expose tensions between the digital and physical body, while questioning the stability of this binary distinction.

CV & Education

Georgia W.D. Dymock

Mobile: 07703 980920

Email: [email protected]

EDUCATION

2019-2020 Chelsea College of Art, University of the Arts London, (UAL), Graduate Diploma Fine Art, Distinction

2017– 2019 University College London, (UCL), BSc Degree Anthropology, Upper second-class degree

2011 - 2016 Repton School, A Levels - Geography (A*), Biology (A), Religious Studies (A)

Additional Qualifications GCSEs (A*- A) Singing Grade 8 (ABRSM) - Merit, Music Theory Grade 5 (ABRSM) - Merit, TVU Intermediate Graded examination in Music Theatre Grade 5 - Distinction, LAMDA level 1 award in Performance (QCF) Acting solo Grade 3 - Distinction, Duke of Edinburgh Award – Silver 

 EXPERIENCE

Gammas Gallery, Mayfair, London, internship (Summer 2020) 

Researching and getting in touch with emerging artists, contemporary galleries, art institutions and consultants; filling and creating databases based on my preliminary research; consideration of successful business strategies and writing business proposals for potential clients and business partner based from my research; conducting preliminary internet search for art competitions and grants; managing a calendar in relation to key dates including: deadlines, meetings, events and exhibitions; use of Adobe Photoshop and illustrator to create visual content.

Founder of “Women’s voice In the Arts” (2020)

An online platform facilitating discussion about women’s representation in the arts. Invites key workers from the art industry, including: artists, collectors, academics and agencies. My role involves coordinating interviews with guest speakers on the platform; supporting social outreach; managing writing, visual art and audio media.

Course representative (UAL, 2020)

Communicating the student voice in committee meetings and larger board meetings within the university; gaining an understanding of institutional organisation.

Assistant at the Grandine Gallery, London (2019-2020)

Assisting in wood preparation; curating and installing exhibitions; assisting in private views.

Koestler Arts [A Prison Arts Charity] London (June 2019)

Logging artworks and processing entries; facilitating judges writing feedback; curating and installing exhibitions; assisting the coordination of events; returning artworks to entrants.

Treasurer and workshop manager of Art Society at UCL (2017-19)

Managing the societies funding; making critical decisions about the society’s future investments made; strong organisational skills developed with the funding of the annual societal exhibition as well as the booking of rooms for upcoming classes; communication skills necessary with the Students Union and students to ensure the success of the programs; contribution and co-ordination of exhibitions and zine projects.

EXHIBITIONS

Group shows:

2020 UAL Graduate Showcase

2020 Anti-Rocket, Online Exhibition

2020 FA interim show, The Cookhouse UAL: Different Visuals, Lightly Touched, curated by Lynton Talbot

2019 FA interim show, UAL

2018 The Cyrpt Gallery, UCL Art Society London

INTERESTS AND ACHIEVEMENTS

Art practice: Slade summer school (Summer 2018, one month): occupying an individual studio for installation work, this was a chance to meet working artists from all over the globe; public speaking and communication skills developed 

Slade summer school (Summer 2017, two weeks): painting and portraiture; skills developed include drawing, patience, perseverance and hard work.

Art History course at Sotheby’s institute (Summer 2019, six weeks): Learning about the flows of the art market and various exchanges with professionals in the art sector; analytical and creative skills acquired as well as quick learning.

Art History course at Sotheby’s institute (Summer 2018, two weeks): Learning about women’s representation within the arts in the past and now. Others: Adobe (illustrator, photoshop and premiere pro), Blender, Microsoft Office (Word, PowerPoint, Excel), Google Drive, Apple Mac, Kick-boxing, Running, Singing, Philosophy, Medicine.