Georg Wilson
Anything that behaves mischievously and in its own best interest, that is bold and all body, could be a goblin.
- Jen Calleja
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Goodnight Goblin, 2021, oil on canvas, 18 x 13cm
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Georg Wilson interrogates the gendered roles found in European folklore, by humorously inverting or distorting their narratives. Her most recent works tease out strange, playful moments enacted by sulky, awkward characters who clumsily dominate the compositions – they are called her ‘goblins.’The goblins roam wild across the English countryside, gorging themselves on fruit and vegetables, stealing whatever they can find. If you move your eye away from the painting for a moment, the goblins might slink away, never to be seen again. Wilson’s practice is directly informed by England’s changing seasons, the colour and sense of light in the work changing synchronously from Autumn to Spring. An awareness of these natural cycles can hopefully encourage us to live in the present, rather than always looking forward, and to feel more closely connected to our fellow earthly critters and the passing of time.
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The Juniper Tree, Brothers Grimm illustration by Maurice Sendak
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Tapestry of Goblin, 2021, oil on canvas, 75 x 50 cm
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Harvest Moon, 2021, installation, dimensions
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The Omen, 2021, oil on canvas and collage, 25.4 x 30.4 cm
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Goblin Knows Something, 2021, oil on canvas, 75 x 50 cm
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Goblin Ridden, 2021, oil on canvas, 100 x 40 cm
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Philadelphia, University of Pennsylvania, Rare Book & Manuscript Library, LJS 419, fol. 42r.
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Back To Its Roots, 2021, oil on canvas and collage, 24.5 x 30.4 cm
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Georg Wilson in a Schembart carnival-inspired headpiece
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Illustrations from a 16th-century manuscript detailing the costumery of Nuremberg's Schembart Carnival
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photo by Brynley Davis