Georgia Annabelle Morgan

The making and appreciation of art [...] projects imagined possibilities of experience, [...] embodying and presenting these possibilities in an enduring physical medium.

[...] In making the artwork, the artist does not translate pre-given mental image into reality. Rather the very process of making these is the real act of imagination. The give and take between idea and medium [...] brings the image to completion through physical embodiment.1  (Crowther, 2015)

My practice is an ongoing endeavour to see what happens holistically, in the liminal space of the studio, between my being-present, and materials, in the act of painting. Some rules:

1. Allow natural curiosity and highest desire to regulate where attention is placed, noticing intimacy and comfort in moments of voice through the body of creation.

2. Take the utmost care in artistic acts, as a yearning for nostalgic connection to an a-temporal connected 'self' existing perceptually within subjective experience.

3. Choose materials in honour of the sensed feeling evoked through each individual material or tool's application.

4. Hold respect and love for canvas, acrylic, oil paint and natural fibre fabric as well as drawing tools: chalk, pastel, and pencils.

5. Allow the plasticity of these materials to speak as fluid, flexible material; (allow the material ontology of painting and drawing to become something specific to my [as agent] body occupancy of space.)

6. Begin a dance between spontaneous intuitive marks and linear forms, allow visual reveries of self discovery and the expansion of awareness to register through hieroglyphic l'ecriture feminine.

7. Choose a colour palate that produces energy and desire for stillness. Choose tones to create delicate and light spaces that suggest the meditative.

8. Proceed through dynamic and fluid control/accident.

9. Encourage a space that is comfortable and relaxing for a body to move freely in.

10.  Romance self through movement and the becoming or poetic visual form. Allow feminine and masculine moves to register their body-ness on the surface.

11. Allow intuitive contemplation, to negotiate the space my body occupies in the studio. Watch a ritualised, painterly unfolding happen, between surface and action.

12. Call this painterly performance of presence in the studio: a healing.

"Or, cela signifie que chaque réve humain est réalisable. Mais toutes les réalisations humaines sont des réalisations de rêves. Les rêves sont le premier pas, la premiere illustrations intuitive d'une intention originellement vide, d'une possibilité qui s'announce sous les espèces sous les espèces d'un pur désire."2

Jan Patoĉka

Translate in english,

However, this means that every human dream is achievable. But all human achievements are dream achievements. Dreams are the first step, the first intuitive illustration of an originally empty intention, of a possibility which announces itself in the form of a pure desire. 

1 Extract from Paul Crowther's text titled 'On Why We Need Art - The Aesthetics of Self Becoming' pg. 2-31, of the author's presentation of a keynote address entitled 'The Need for Art, and the Aesthetics of Self-Consciousness' at the European Society of Aesthetics Annual Conference, Dublin Institute of Technology, June 11th 2015.

2J. Patoĉka, Liberté et sacrifice. Ecrits politiques, Grenoble, Million, 1990. pg 228. Ectract from 'Les dondemensts spirituels de la vie contemporaine' (1969)