Georgia Lucas-Going

Home is Where the Work Starts 1988

DAGE (Deptford Action Group for the Elderly), 71 Deptford High Street, SE8 4AA

This new piece involves three generations of my family who have all lost their greatest loves. A family of women outliving their male counterparts. Habits & rituals, physicality & taking up space. The joys of surviving still plump our skin.

What is better than the place where you take your shoes off (If you don’t, you should)? Sink into the stuffing and watch the TV glow off of their faces. The art started at home, so why not finish it there? Accessible to all and no one. Institutions are overrated & stepping in is only done by some.

This new piece of work has been filmed in various locations in and on the outskirts of London. From Luton, then everywhere in-between, and Deptford is where it will end. I wanted to dismantle any hierarchies or boundaries that may arise when viewing art in institutions or gentrified areas. Familiar spaces or objects that are known to nearly all – and to the people of Deptford. The TV symbolises the first world: the object most desired by people of the 80s and 90s. There is no power-play here. Watch the art without being watched.

Georgia Lucas-Going was born in Luton and is based in London. She studied Fine Art at Leeds Arts University (2007-10) and the Slade School of Fine Art (2015-17). Georgia is currently a scholar at the Lee Alexander McQueen Foundation. Her work exists in a range of mediums from installation to sculpture, performance and video art - the work confronts themes of stereotypes and power dynamics, also exploring humour and self taught 'survival techniques’.

Georgia Lucas-Going was nominated for Platform 2018 by Melanie Keen, Director of Iniva.

My reason for nominating Georgia is that as an artist using performance and moving image, she prefaces the female body as central, as dominant, as material at a moment when women’s bodies are paradoxically subject to immense scrutiny and violation as much as being revered as a powerful collective political force. With the erosion of black spaces and queer spaces her practice attempts to push against this retrenchment in unexpected, bold, coercive ways.
-Melanie Keen

Georgia Lucas-Going:
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Melanie Keen:
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Wheelchair accessible.