Georgina Gratrix, Nine Weeks, 2020
In Nine Weeks, Gratrix turns the focus onto herself. One work in sixty-three parts, the artwork consists of a series of watercolor self-portraits created during South Africa’s military-enforced quarantine, one each day. Implemented as an Instagram project as a means of connecting to the outside world—leaving the house, even for a walk was forbidden by law except during state-sanctioned times dictated by the government—the titles of each day's painting offer first-person views of a somewhat universal experience. Taken as a whole, the artist’s portraits are a maddening glimpse of the evolution of identity under quarantine
1 Print
126 single prints available*
Pigmented inkjet print on Epson Watercolour paper 30 x 42 cm (image and paper size)
63 prints, Editions 3/4 and 4/4 (two sets) Printed by Dog Ear Editions, Cape Town
3 Prints
21 sets (of 3 prints) accompanied by a limited edition artist’s book* Pigmented inkjet print on Epson Watercolour paper
30 x 42 cm (image and paper size) 63 prints, Edition 2/4
Printed by Dog Ear Editions, Cape Town
7 Prints
9 sets (of 7 prints) accompanied by a limited edition artist’s book* Pigmented inkjet print on Epson Watercolour paper
30 x 42 cm (image and paper size) 63 prints, Edition 1/4
Printed by Dog Ear Editions, Cape Town
Please see pages 20-24 of the Artist Edition Programme catalogue to see all the details of the available prints: https://www.norvalfoundation.org/wp-content/uploads/2021/04/Birthday-Edition-Programme-19-Apr-2021-.pdf
*Note: Dated between 28 March to 31 May. Sets of three and seven are in numerical order (for example 28-31 March and 28 March-3 April)
29 March and 18 April have been omitted by the artist.
Georgina Gratrix (born Mexico, 1982) is known for paintings that feature expressive, impasto brushwork and humorous yet uncomfortable distortions of figures, objects and landscapes filtered through a colour-saturated aesthetic. For over a decade Gratrix has investigated how the painted image can both seduce and challenge a viewer, while developing an immediately recognisable visual language that has a broad public appeal. Portraits of family and friends, as well as art world insiders and popular culture icons, appear alongside oversized still life paintings of impossibly exuberant bouquets and, to a lesser extent, verdant landscapes recalling the province of KwaZulu-Natal, where the artist grew up
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