Georgia Preece is a cross-disciplinary creative, with a practice embedded in research. Through visual and written work she explores themes of nature and resistance, through the lenses of class and queerness - navigating these as intersectional themes.
Artists Manifesto.
An exploration of the manifesto as poetry, statement of identity, grounding exercise and opportunity to imagine / dream. Part of an ongoing series of manifestos, this is the only manifesto in the series to be publicly displayed.
Unweeded.
A collaborative project created as part of a UKNA ‘architecture residency’ alongside Kim Thompson and Zara Sands.
Research as practice, an exploration into presenting research in a gallery context through the use of the digital platform Padlet. Mix of photography, poetry and documentation presented as interconnected thoughts, with the artist's observations and quotes from Angelica Garnet (Duncan Grant’s Daughter) woven together.
Tarot reading for Duncan Grant.
Nine of Pentacles (Vanessa Bell)
The Devil (Life outside heteronomativity, and conscription)
The Hermit (Move to Charleston from London)
City Centre Stories.
An outdoor exhibition of crafted augmented reality artworks and poetry formed from a collaboration between Brew Projects and Georgia Preece. Each stop explored an independent business, playing with past and present.
The project was launched at a live poetry reading in the city centre.
Claimant
Created as part of a residency at General Practice. Claimant uses fragmented poetry to explore: micro-aggressions aimed at the working class, the tensions that arise in the space between classes occupied by the working class graduate, and the dehumanisation of the ‘claimant’.
60,000+
A series of photographed sculptural representations of disposable face masks. 60,000+ takes its name from the estimated number of UK deaths in the covid 19 pandemic, at the time of the projects conception, many of which were caused by the government's lack of action.
The project acts as a memorial to the preventable deaths caused by the tory government, extending beyond the pandemic. However it also serves as a celebration of the populations resistance. 60,000+ is a celebration of the resilience of working class communities, global majority, people with disabilities, the elderly, LGBTQ+ and other people, whose everyday life is an act of resistance under a government who views them as disposable.
The People Leading Liberty
The final, private, performance of The People Leading Liberty. Self portrait as The People, produced during a relaxation of lockdown restrictions during the covid pandemic. The performance explored a complex relationship with systemic power, and the artists own relationship with the shields as an object in itself, and as a project. The People struggle with the weight of the oppressive system, feeling it press down on their back and shoulders, as well as the fragility of it under their feet, as they tiptoe and stomp.
Documented in an unseen video, and series of photographs.
For Liberty
A composition of 5 representations of police riot shields made from plaster. Opting for a roman inspired shield as opposed to the contemporary armadillo shield used by the police, for its recognisable shape. The plaster riot shield acts as a representation for the police as a failing system. Fragile and not fit for purpose, the plaster shields stand, heavy and crumbling.
2366
2366 holes drilled into an aluminium sheet, mapping out the oil rigs and platforms along the gulf of Mexico. The process of drilling each hole warps the shape of the aluminium, contorting the light as it hits the work, the mapped out holes mimic the appearance of starlings moving in a murmuration.
Produced in response to Timothy Mortons Hyperobjects. Part of the University Of Lincoln’s Special Collection.