Georgine Ingold is a gifted painter and a brilliant colorist. She possesses a sharp graphic sense and her paintings are extremely seductive in form and content. Ingold moves within narrative figuration at a time when most artists shy away from the paint brush – calling it “traditional” and “reactionary” in order to work in video, new media and installation. In terms of content and style, her work is part of a group of international painters who developed a very specific mixture of realism and conceptualism. Her paintings reference nineteenth-century modernist painting – from Eduard Manet to John Singer Sargent – and she processes these masters and their techniques through contemporary artistic and cultural lenses. Her oeuvre captures an artistic zeitgeist that reflects the cultural climate of the late-twentieth and early-twenty-first centuries.
Ultimately, her work is evidence of a new kind of popular art that bridges the gap between art and life, the personal and the private, the popular and public. While interested in contemporary popular culture, Ingold believes in her medium, she is fascinated by the abstract power of painting as the process and result of applying paint. Her broad brushstrokes and their sudden shifts function independent from her subjects. Her “Self-Portrait” series are paintings of movie stills, different ones in each painting, but with diverse painting techniques functioning as agents of abstraction.
When Ingold moves into more personal territory, painting more from life than from generic photographs or film stills, her work deepens, emotions and atmosphere are injected into them. This is especially poignant in her landscape series with the overarching title “Outside”, which she successfully presented in 2012/13 in numerous gallery an institutional shows. Generally, landscapes seem neutral, lyrical or poetic, rather that personal and emotional; yet Ingold’s works are filled with passion and are highly personal. At first glance, the work looks straightforward, and, to a certain extend, traditional, but Ingold captures a complexity of reality by simultaneously representing feelings and perspectives within the genre of landscape.
Ingold’s landscape cycles intercept the discourse of the poetic and the pragmatic, but her stories are hidden – a seemingly archivist interest motivates her gaze. She works with her own photographs of topographies which are of personal importance: she chooses to depict only those landscapes with personal associations. But, are Ingold’s landscapes symbolist? That is not necessarily the case – meaning and illustration stand in a dialectic relationship to each other and one fails to attach an easily readable narrative.