Developing Minna George's interest in film and digital representation, the artist has explored the motion, capture and stills of objects. The concepts behind object matter and subject matter in contemporary art have always concerned Minna as a painter. Minna has been experimenting artistically using various mediums such as painting, photography and film and finding inspiration in the most natural of elements such as earth, fog and light.
Minna refers to the sublime within her work. The term is commonly understood to refer to a greatness beyond all possibility of calculation, measurement, or imitation. However, the sublime evades easy definition. In spite of common usage to refer to the most ordinary of subjects, for example referring to a ‘sublime’ day, it has a deeper historical meaning. It alludes to something truly inspirational and has long been a subject of interest to artists.
Taking inspiration from writings including those of the philosopher Edmund Burke, British artists have explored the notion of the sublime for several hundred years. Minna continues this long tradition.
Burke argued that the sublime and the beautiful are mutually exclusive. Beauty may be accentuated by light, but either intense light or darkness (the absence of light) is sublime to the degree that it can obliterate the sight of an object. While the relationship of the sublime and the beautiful is one of mutual exclusiveness, either one can produce pleasure.
As an internationally exhibited artist, Minna returns with new paintings completed over the last year. This new body of work is solely inspired by colour, light and movement. Minna enjoys creating soft transitions of colour and texture contrasted with brave gestural movements on the canvas. Minna employs a mixture of brush strokes and controlled incidents to create paintings highly complex in their build-up of 50 layers or more. A visual and textural indulgence of unrestricted colour, surprise and imagination and the curiosity of another world.