PRINTILLUSTRATED:
Georgia Russel, Galerie Karsten Greve, St. Moritz – Paris - Cologne, 2015, color illustrated, pp. 130-131
Georgia Russel, Galerie Karsten Greve, St. Moritz – Paris - Cologne, 2015, color illustrated, pp. 130-131
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Horizon
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2012 Cut prints on Kozo paper, plexiglas 100 (L) x 135 (W) x 16 (H) cm Signed on the reverse Gerorgia Russell and dated 12 |
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Estimate
240,000 - 360,000 1,008,000 - 1,513,000 30,900 - 46,400
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Catalogue Note:
HORIZON
GEORGIA RUSSELL
Georgia was born in Eglin, Scotland, currently lives and works in Paris. Russell graduated with 1st Class Honor from University of Aberdeen in 1997 in Fine Arts. Georgia Russell is known for her use of scalpel on works where she slashed, cut and dissected flatten printed materials, such as that of photographs, old book, music sheets, etc., and transform them into unfurling sculptural objects giving them a new form of life and representation.
The use of scalpel allows Russell to sliced open the paper and left with lacerated volume works of art, sometimes ended up with flamboyant colors and feather-like features on the sculptural piece. The idea of cutting books apart was born during her stay in Paris, when she saw stacks of books piled up as if dead or unloved, for Russell, these books are already situated like sculptures, touched and admired with the looks of passerby, passed on to one another over time. For Russell, the cut-out interlacing accompanied with their shadows functions as ‘membranes of memories’. The recollection of memories could easily be triggered by a breeze or shine of a sunlight. What is the meaning of a book, or a map when it has been emptied of its content and removed its legibility? This re-contextualization of the material allowed viewers to question the status quo, its innate root, and at the same time, mind wonders freely and boundlessly beyond the framework.
This current lot, Horizon, is constructed with cuts on layers of Kozo papers interwoven together, in which the paper is characterized for being strong and absorbent. The choice of this specific paper coincidently represents the nature of the sea. The incisions on the seascape reflected movement of waves and highlighted possible wind change of the nature. There is no centre point, yet the contour of ripple effect directed the eyes of views to the middle meeting point of sea horizon. As the spreading effect moves towards the outer circle, the curves have resemblance of vegetation, nurturing new forms of lives. Although it seems to be a two-dimensional representation of the sea, this picture can be viewed from different perspectives, above and beneath the sea, or horizontally, depending on the perspective you wish to view from. The multi-perspective visualization of this work is as diverse as the water is able to nurture life.
Georgia Russell deliberately play with the concept of solids and voids, which are often seen in Chinese traditional landscape painting. A certain amount of voids creates space and lighting, while solids add structures and monumentality to the work. In Horizon, solid curve lines overlapped each other and created voids, as abstract as it may be, voids became sparkling reflections of sunlight, then turned into a pack of sardine, or fish-like creatures amid sea waves. The fascination of Russell’s work lies in its mobility and energy that flows throughout her work, where the integration of solids and voids creates a sprung up three-dimensional space in a flatten work.
GEORGIA RUSSELL
Georgia was born in Eglin, Scotland, currently lives and works in Paris. Russell graduated with 1st Class Honor from University of Aberdeen in 1997 in Fine Arts. Georgia Russell is known for her use of scalpel on works where she slashed, cut and dissected flatten printed materials, such as that of photographs, old book, music sheets, etc., and transform them into unfurling sculptural objects giving them a new form of life and representation.
The use of scalpel allows Russell to sliced open the paper and left with lacerated volume works of art, sometimes ended up with flamboyant colors and feather-like features on the sculptural piece. The idea of cutting books apart was born during her stay in Paris, when she saw stacks of books piled up as if dead or unloved, for Russell, these books are already situated like sculptures, touched and admired with the looks of passerby, passed on to one another over time. For Russell, the cut-out interlacing accompanied with their shadows functions as ‘membranes of memories’. The recollection of memories could easily be triggered by a breeze or shine of a sunlight. What is the meaning of a book, or a map when it has been emptied of its content and removed its legibility? This re-contextualization of the material allowed viewers to question the status quo, its innate root, and at the same time, mind wonders freely and boundlessly beyond the framework.
This current lot, Horizon, is constructed with cuts on layers of Kozo papers interwoven together, in which the paper is characterized for being strong and absorbent. The choice of this specific paper coincidently represents the nature of the sea. The incisions on the seascape reflected movement of waves and highlighted possible wind change of the nature. There is no centre point, yet the contour of ripple effect directed the eyes of views to the middle meeting point of sea horizon. As the spreading effect moves towards the outer circle, the curves have resemblance of vegetation, nurturing new forms of lives. Although it seems to be a two-dimensional representation of the sea, this picture can be viewed from different perspectives, above and beneath the sea, or horizontally, depending on the perspective you wish to view from. The multi-perspective visualization of this work is as diverse as the water is able to nurture life.
Georgia Russell deliberately play with the concept of solids and voids, which are often seen in Chinese traditional landscape painting. A certain amount of voids creates space and lighting, while solids add structures and monumentality to the work. In Horizon, solid curve lines overlapped each other and created voids, as abstract as it may be, voids became sparkling reflections of sunlight, then turned into a pack of sardine, or fish-like creatures amid sea waves. The fascination of Russell’s work lies in its mobility and energy that flows throughout her work, where the integration of solids and voids creates a sprung up three-dimensional space in a flatten work.