Georgina Hooper

Infinity Series #3, #4, #5, #6

My signature style synthesises Eastern calligraphic strokes with Modern abstraction.  Through the random repetition of 5 strokes on a coloured field I create vast and rhythmic matrixes imbued with the forces and motion of nature. The strokes I use have a fluidity and direction of their own. I work automatively, governed only by a small set of 'rules’. I attempt to make decisions with my ‘eye’, intuitively, rather than with the cognitive rational facility.


As a research scholar at Tianjin University, I was taught that these strokes are the essential elements of Chinese landscape painting, a tradition which is thought to have begotten China’s modern written language. I see in them, an infinite potential to represent the natural world and attempt to cultivate a deep knowledge of them through prolonged practice.


My painting process is a form of concentrated meditation in keeping with the Northern Sung Ch’an Buddhist painters approach to landscape painting. I have no pre-conception of what the painting will look like before it is begun. It is like a riddle that unfolds through the process of making, governed by the strokes themselves. There is no right answer or right result, just the process. My paintings could be likened to a ‘Koan’. A Koan is a paradox or unsolvable riddle that is used by Zen Buddhists to help their abandonment of dependence on reason, thereby provoking the mind to enlightenment.


My practice, which was born out of academic research, has become highly personal. Each work takes countless hours. As I create I can achieve a distancing from my analytical mind and internal rhetoric and with it a greater understanding of myself and my inculcated Western style of thinking. Through it, I have become far more creative and artistically freed and enjoy the quietening of my mind that results.


The Western artist in me, however, is also incredibly motivated and interested in this work formally.  There are so many variables that I can introduce to the way I explore these ancient strokes. I feel I am just beginning. In the certainty of the 5 strokes I use there is the potential to explore the elements and principles of art and design and their power to communicate. 


Just as the theories and practices of ancient Chinese painter-critics are pivotal to my work, so too are the theories and creative yields of Modernist artists such as colour field painters Mark Rothko and Barnett Newman. Like Rothko and Newman, I believe in the power of non-objective painting and the affect colour and form can have on us.


While I see my paintings as artefacts to my own creative experience, I would like something of my felt experience of making translates. I hope that these floating networks of endless space could become in themselves, vehicles of meditation for my audience.


Honours in Art and Design University of Canberra (First Class)                                2017

Supervisors: Dr Patrick Mitchell & Dr John Dahlsen

Thesis Title: Chinese Landscape Painting and The Sublime

B.A.         Bachelor of Ed – Secondary – Art/History. Griffith University                                             2004

B.A.         Bachelor of Visual Art – Fine Art (Painting). Griffith University                                           1999

Academic Employment (Teaching and Research)

2018                        Freelance Arts Researcher and Writer                                                                           

2016-2017           Lecturer, Department of Art and Design, University of Canberra

2017                        Course Developer, Department of Art and Design, University of Canberra

2015                        Tutor & Guest Lecturer, Department of Education, University of Queensland

2015                        Tutor, Department of Education, Griffith University

2006-2016           Teacher & Head of Department, Art Department, Stuartholme School

2001-2001           Exhibitions Researcher, Surrey Institute of Art & Design

Scholarships and Awards

•   First Class Honours, University of Canberra (2017)

•   Academic Merit, Griffith University (2004) 

•   Research Scholarship to Tianjin, University of Queensland, Department of English, Media Studies and Art History (2010) 

•   Teaching History Fellowship,- National Gallery & National Capital Educational Tourism Project, Canberra Australia, Griffith University, (2004)

Selected Exhibitions

2018      Right Now, Onespace Gallery (Group Exhibition), Brisbane

2018      Afterimage, Onespace Gallery (Group Exhibition), Brisbane

2018      Yique, Chung Tian Temple Gallery (Solo Exhibition), Brisbane
2017      Liminal Space, Onespace Gallery (Solo Exhibition), Brisbane

2016      Renga, Woolloongabba Art Gallery Solo Exhibition), Brisbane

2016      Mayo Arts Festival (Feature Artist), Brisbane

2015      Blue Water Arts Festival (Feature Artist), Sandgate

2015      Microcosm, Percolator Gallery (Solo Exhibition), Brisbane

2014      Itadakimasu, White Canvas Gallery (Solo Exhibition), Brisbane

2014      Sublime, Cardigan Bar (Solo Exhibition), Sandgate

2013      Member’s Exhibition, 4A Centre for Contemporary Asian Art, Sydney

1999      Rush (Graduate Exhibition), Brisbane Institute of Art, Brisbane

1995      Minister for Education Excellence in Art Awards, Rockhampton Art Gallery, Rockhampton

Artist Residencies/Fellowships

2013 Artist in Residence, Tobo-ao Kiln , Hasami, Japan (3 months)

2013 Artist in Residence, The Pottery Workshop, Jingdezhen, China

2013 Artist in Residence, Sanbao Ceramic Institute of Art, Jingdezhen, China


Hooper, Georgina. (2014). “Fine China – New Directions for Jingdezhen”. The Journal of the Asia Arts Society of Australia, Vol 23 No.4 pp15-17.

Selected Press


Scott, Chantal. “Nature Inspires and Sustains”. Paper Bou (September 20, 2018). 


Miller, Jessica. “Eastern Inspiration”. The West End Magazine (Summer 2017, #33, 28-29).


Crouch, Rachael. “Exhibition: “Microcosm” By Georgina Hooper”. Moustache Magazine (March 2015)


Case, Antonia. “The Art of Travel”. Womenkind (Issue 3 Feb-April, 2015)


Archer, Melissa, “Exploring Nature’s Beauty – Georgina Hooper”. Art and Soul (April 2015).


No Brow [Art Show]. 4ZZZFM Radio Interview, (31 August, 2014).

Art Projects/Public Art

·       BioCup Art Series (2017)

·       Textile Collaboration with Masayo Yasuki for Dogstar (2015)

·       Nakaoyma Buddhist Temple Ceiling Project, once every 100 years, as the first foreign participant. Hasami Japan (2014)

·       Designed, painted and led an Australian group of young artists through the development of a mural project in Lijiang, China (2010)