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)
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
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.
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)