By Chris Holdaway
Georgie Hill’s watercolour inventions are everything good theory has told us abstraction shouldn’t be: decidedly layered instead of striving for bold flatness; avidly literary instead of appealing to objectivity. This all the while achieving feats of cohesion which should make even the most arch modernist proud: the washed surfaces with stark and colourful incisions give the firm impression of mixed media and constructive applications when there really is nothing but paint and paper. It’s these kinds of grey allegiances and material complexities that can really get you excited about painted patterns on a surface in the 21st Century.
Read the full text online at Verb Wellington.