Painter Georgie Hill conjures up real and imagined visions of cosmic meteorology, her distinctive technique creating patterns of movement and rhythm, tension and release.
Italian astronomer Giovanni Cassini recorded the first substantiated sighting of the “Great Red Spot” in 1665. This deathless storm rages atop Jupiter’s surface at a sublime, irregular width, sometimes 40,000 kilometres across. The squall’s colour mutates between cosmic orange, celestial salmon and heavenly white. Cassini’s sighting arrived five decades behind William Shakespeare’s storm-tossed swansong, The Tempest, and three centuries before Metro-Goldwyn-Mayer chopped and screwed Shakespeare’s play into Forbidden Planet, the first film with an entirely electronic score.
This unwieldy astronomical network I am describing motions toward the divergent intellectual curiosities of Auckland painter Georgie Hill: meteorology, astronomy, climate change, disaster, the psychedelic, theosophy, modern literature and colour. Especially colour...
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