Georgia Hill is an illustrator and artist, specialising in hand drawn type based artworks that combine bold, monochromatic textures and lettering within experimental compositions.
Tell us a bit about your creative background
I originally studied Visual Communications at UTS, then moved into lettering, then illustration, exhibition art works and mural painting. So each stage has informed the next, which used to really frustrate me, but has also forced me to develop my work and interests while my whole idea of what I want to end up doing has been getting sharper too. So I feel like I’m slowly narrowing in on this end goal but I’m also trying to make sure I enjoy everything I’m creating along the way.
What are you working on at the moment?
I made sure to actually take some time off over this summer (which is very new for me!), so I’m slowly getting back into projects, however it’s ramping up pretty fast. There’s a few paint trips, mural festivals and client based projects, a lot of travel and I’m also trying to make sure I keep the time to work on my own direction.
How would you describe your artistic style?
Bold, black and white, detailed, letter based works. I’m a bit in-between at the moment as I want to push into some more experimental and painterly approaches but not totally drop my style as it is now so….we’ll see where this description ends up!
How do you approach a new brief?
My work has been moving away from briefs a lot lately, as I seem to get approached to create works in my own style, whether that’s on walls or for print. I really enjoy working like this, as it means I need to push myself and that clients are trusting me to do my own thing. I try to make sure I give myself the time to experiment with approaches, push past some of the usual things I’ve been working on, and just come up with something new every time so I’m moving forward that bit more.
What is your creative process like when painting a mural?
I approach it pretty much the same way as a client brief, but more and more I’m trying to look at the context of the work – where will it be, what’s the history of the area, the wall, the environment I’m painting in, and the feeling of people there or how I feel in my mind about a place. I’m trying to focus much more on being reflective, about this internal contemplation, and creating open work that can be read in new contexts time and time again.
Where do you draw your inspiration from?
I always try to be really conscious of looking to my own interests and resources for inspirations – I like things like Instagram and tumblr to see what other people are up to, but it can be a bit of a trap if that’s where you’re looking for your own creative ideas. I think you really need to look at what interests you and then get into that imagery – I get into these weird tangents, like at the moment I really love not just looking at architecture but also reading about it, kind of taking as much as I can in and seeing how that will seep into my work down the line.
Do you get to travel much with your work? What’s the most interesting place you’ve been and why?
Last year I made it a real point that I want to travel much more for my work, and will be pushing that again this year once I get my studio practice locked in a bit more. Travelling to Amman, Jordan has definitely been a highlight, as it’s just a landscape I never could have predicted I’d be excited to be in, but then I also spent about three weeks in Tasmania and couldn’t believe how beautiful it was somewhere close to home too. I feel like I find something different in every place, and the quick contrasts that appear from travelling often makes me appreciate it even more.
What’s the most memorable story you have from your travels as an artist?
Haha, there’s a lot I don’t want to put in writing! I’d have to say being in Bali for Tropica last year was a major highlight – for one it was my first time painting overseas, but also because riding a motorbike through a block party is just a part of the night.
Have you collaborated with many other artists? What has that process been like?
I’ve worked with a number of artists in the last few years, like Elliott Routledge, Thomas Jackson, Brad Eastman, Maddy Young, Sean Morris and James Jirat Patradoon. I love that each time the process is different, and you truly don’t know what the end result will be. It pushes me to work a bit harder and keep up, and to also realise my work is able to stand up alongside these friends I really respect.
Have you got anything exciting coming up?
I do! There’s a number of mural festivals early this year which I always love, and also just focusing on my own work and pushing that into something I’m excited about.