GEORGINA-ELIZABETH
Visual Artist / Living Archive Builder / Based in Lewisham
Welcome to GEORGINA-ELIZABETH.
Her practice-led research interrogates the politics of representation, myth, and authorship. Her work explores the symbolic systems that have historically dehumanised Black women and reclaims space - physically, conceptually, and emotionally—through the use of the home as gallery. Georgina's practice challenges institutional norms not through resistance, but by constructing parallel frameworks of sovereignty and self-definition.
Creating a parallel space for Black representation beyond institutional gaze
Living Archive: The Home As Galley
Project Information
Living Archive: The Home as Gallery
Ongoing, December 2025 –
Practice-led domestic exhibition and living archive
Paintings, installations, unscripted performance, audience encounters
Research Interests
Black visuality
Domestic space as archive
Mythology and symbolic narrative
Non-institutional exhibition models
Practice-led research and duration
Rather than attempting to revise misrepresentation within white frameworks, this project creates a parallel space that documents Blackness as it lives, unrevised, unfiltered, and unperformed. The domestic site functions not only as context but as content, offering an alternative to the mythologies imposed by Western culture and visual history The project explores what Black existence looks like when it is not produced in response to, or shaped by, the white gaze. Using the home as both site and method, everyday life, family presence, and routine become part of the work rather than separate from it.
The work incorporates biblical and mythological dissection, confronting the use of symbolic storytelling to control, romanticise, or subjugate Black identity, especially that of Black women. This is not resistance, but refusal: an archive of being, not becoming.
The project does not position Blackness as resistance or explanation. Instead, it holds space for continuity, care, and self-narration, allowing multiple temporalities, lived, ancestral, and mythic, to exist at once. Artworks, performances, and encounters unfold through duration rather than conclusion, forming an archive that remains active and unfinished.
Within These Walls prioritises first-hand experience and proximity. While elements are documented and shared, the work is rooted in presence and cannot be fully translated. It continues to evolve over time, held within the rhythms of domestic life and community.
Features:
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Paintings, archival interventions, and curated domestic installations
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Unscripted performance/existence as a disruptor within home gallery space
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Community engagement and intimate viewer access
Curators, writers, or community contributors interested in the project are encouraged to get in touch.
Home As Site, 2025
Living room used as a domestic exhibition site.
The space remains in daily use, with artworks integrated into routine, furniture, and family life.
The home operates as both site and method.
Domestic Performance, Within These Walls, 2025
Archival photograph documenting a lived act of care and self-maintenance within the home. The bath becomes a site of quiet performance, where Black existence is witnessed without explanation, resistance, or translation.
Domestic Mythology, Within These Walls, 2025
Hair, tools, and products are arranged as ritual objects. The bathroom becomes an altar where knowledge, care, and Black myth are enacted through repetition rather than spectacle.
Living Archive, Within These Walls, 2025
Everyday cooking tools and inherited practices are documented in use. The kitchen operates as an active archive where Black knowledge, care, and continuity are sustained through daily life rather than preservation
Rituals of Home
Threshold Objects, Within These Walls, 2025
Domestic slippers rest between painted faces and tiled ground. Childlike comfort and political imagery coexist, marking the home as a site where inherited histories and everyday softness meet without hierarchy.
Hallway Installation, Within These Walls, 2025
Paintings, documents, and national symbols converge in a transitional domestic space. The hallway becomes a site of passage where personal history, political context, and Black self-narration coexist without hierarchy or explanation.
Studio as Archive, Within These Walls, 2025
Painting, tools, and music coexist in the domestic workspace. Creative labour unfolds alongside cultural inheritance, where Black self-representation, memory, and influence are produced in continuity rather than isolation
Office as Archive, Within These Walls, 2025
The home office operates as a living study: paintings in flux, books, tools, and unfinished works coexisting with domestic storage. This space foregrounds thinking-as-making, where Black interiority, labour, and reflection accumulate over time. The office becomes both archive and engine—holding process, residue, and future direction within the everyday.
Office Window Ledge, Within These Walls, 2025
Red shoes and an inherited horseshoe rest on the blue office window ledge. Adornment, labour, and ancestral protection converge in a working domestic space, where personal ambition and inherited presence coexist without hierarchy.
Still Life (Mobility and Hosting), Within These Walls, 2025
Passports, cut glass, and a decanter rest on a domestic tray, staging movement and belonging within the home. Documents of statehood sit alongside gestures of hospitality, reframing migration, access, and Black presence as lived, ongoing, and self-authored rather than exceptional.
In The Shit House