Georgie Huxley is a London-based painter exploring the tension between connection and solitude. Rooted in emotional memory, her work captures overlooked moments, anchored by found fragments. Huxley completed a BA in Fine Art at The Slade School of Fine Art, London, from 2019 to 2023, following a Diploma in Art and Design at Warwickshire College, Leamington Spa, in 2018–2019. Group exhibitions include Art on a Postcard International Women’s Day Auction at The Bomb Factory, London, and In Plain Sight at Hurst Gallery, London, in 2025; Sky Portrait Artist of the Year Contestant at Battersea Arts Centre, London, and Alone Together at 2 Hoxton Street, London, in 2024; and in 2023, Canyon at RuptureXIBIT, Kingston, Bedrock at The Crypt Gallery, London, the Slade UG Degree Show at The Slade School of Fine Art, London, Art on a Postcard Winter Auction at Gathering Gallery, London, and Filthy Fox Auction Club at Greatorex Street Gallery, London. Awards include the Stanbury Prize at The Slade School of Fine Art in 2023.
Your work often captures fleeting, understated moments. What draws you to these moments and do they emerge from memories or photographic snapshots?
I’m drawn to the fleeting intimacies that quietly shape our day-to-day lives. I often work from found or archival photographs because they carry a kind of distance; they already exist as fragments, partial memories. Painting allows me hold on to those moments a little longer, to see what’s really there once the noise has fallen away. For me, It’s less about recreating a memory and more about revealing what’s overlooked. The soft, in-between spaces where meaning lingers is what draws me in.
You describe this ‘hum’ of tension which exists between people, objects or gestures. How do you approach translating that invisible energy into your works?
That ‘hum’ exists in time itself. Spending hours revisiting a moment that vanished in an instant charges the painting with a strange, playful tension. It’s both familiar and voyeuristic, inviting the viewer to linger somewhere that feels familiar but not completely known. I really enjoy playing with that tension.
Having moved from a rural upbringing to the intensity of London, do you find that your surroundings change the type of stillness you are searching for?
Completely. Wherever I am, I’m constantly searching for the same stillness but where I search for it changes. Back home, stillness lived within the walls of the tiny mid-terrace house I grew up in. In London, it hides in plain sight. I’ve learnt to find intimacy in lowly light bus stops, smoky street corners, and forgotten corner shops. Quiet gestures lie amidst London’s chaotic backdrop. Stillness feels more like something you have to seek out, something precious, tucked between the bustle.
Many of your figures are cropped or faced away, withholding direct gaze. What role does this absence play for you—does it come from a place of privacy or something else?
I’m interested in creating presence through absence. Cropping or turning a figure away allows for ambiguity and tension, mirroring the way we move through life surrounded by people, yet ultimately alone. By withholding faces, the figures become universal, less about identity and more about gesture, light, and touch. It invites the viewer to complete their own narrative.
Lot 39. Georgie Huxley - Celestial Light
The theme for this year’s Sounds and Vision centres on the lyric, “If I only could, I’d make a deal with God.” Were you directly influenced by the lyric or did you approach it from a more personal or alternative perspective?
Once I heard what the chosen lyrics were, I instantly came to an image I’ve carried for years - a couple seated in a church, bathed in a shaft of celestial light. The moment feels suspended between devotion and longing, which I really felt echoed the lyric’s sense of desire for something beyond reach.
Do you have any projects on the horizon that you would like to share?
Yes! I have my debut solo show, 'Remains To Be Seen', opening at 228 Brick Lane from the 13th to the 16th of November.
The exhibition brings together a new body of paintings responding to a collection of found shopping lists I have been accumulating for over 7 years. These lists feel like the perfect lens through which to understand my practice: they’re everyday, intimate, and strangely anonymous. Each one feels like a portrait, but without a face. They're almost ghostlike. I’m fascinated in how something so personal can become almost invisible once discarded. Painting them allows me to preserve that tension between tenderness and absence, between what remains and what’s forgotten.
Visit Georgie's Instagram
Questions by Victoria Lucas
