"My practice focuses on the visceral, physical, and psychological aspects of painting, approaching each piece as an unfolding process that explores the endless possibilities of paint through colour and gesture."
Georgina's Instagram: @georginastone_
How and when did you know you wanted to be an artist?
I believe creativity has always been in my blood. My mother, who studied painting before pursuing a career in education, filled our home with her vibrant artwork, and my love for art grew over the years. Despite developing my skills and earning qualifications in the arts, I don't think I truly understood that I was meant to be an artist until my first year in the painting program at Brighton. After spending a year painting every day, I realised there was nothing else I wanted to do.
What was your experience of art school?
In my first year of art school, I knew I would always be a painter, whether or not I could make a living from it. Being surrounded by other artists felt like I had finally found my place in the world. Painting became my way of thinking, and after years of confusion due to a late diagnosis of dyslexia, I realised I had found people who truly understood how I thought and communicated. I began my art journey at Camberwell College of Art UAL, where I was introduced to a new world of creative education and a variety of art forms that lower-level education rarely offers. I felt incredibly fortunate to be part of such a creative cohort. That sense of excitement and belonging only grew when I joined the BA Painting program at the University of Brighton, where I formed lifelong friendships and solidified my identity as a painter.
Can you tell us more about the ideas and inspiration behind your work?
My practice focuses on the visceral, physical, and psychological aspects of painting,
approaching each piece as an unfolding process that explores the endless possibilities of paint through colour and gesture. I balance a considered material approach with playful spontaneity, using a ‘push and pull’ dynamic with heavily layered surfaces to reveal both history and doubt. Painting for me is a full-body performance, employing various tools— nails, sticks, pens, and my hands—to create diverse marks. Subtle references to childhood nostalgia, femininity, and vintage Disney imagery weave through my work, reflecting the interplay between innocence, idealism, and the more complex, sometimes darker, aspects of reality.
Are there other artists or movements that have inspired your work?
I have always been drawn to abstract artists such as Frank Bowling, Joan Mitchell, Willem de Kooning, and Helen Frankenthaler, among others. I would say my work fits best within the abstract expressionist movement, though I have reintroduced elements of figuration into it. Recently, I have been inspired by classic Walt Disney animators like Mary Blair and Eyvind Earle, particularly their concept art for Sleeping Beauty and Cinderella.
Can you describe a typical day in the studio? How do you approach your work?
I usually start my studio day with a cup of tea and tackle as many admin tasks as possible, ensuring that when I begin painting, my full attention is on the work. Once I’m in my painting clothes, I sit with my paintings for a while, absorbing them and carefully considering my next steps, often while listening to music. When I start painting, I tend to enter a state of hyperfocus, allowing me to listen to the work and engage in a kind of conversation with it. I share my space with three wonderful female artists, and throughout the day, we often discuss the challenges we face in our practice, offering each other guidance and support.