Michael Georgetti’s practice encompasses painting, sculpture, and installation. His approach is characterised by three-dimensional conceptual paintings with an anthropological quality, offering a critique of the politics of display.
He eschews traditional hanging methods, incorporating gleaming silver and brass frames that playfully interact the paintings they contain – often acting as conduits for consumer branding and logos. Georgetti views these framing elements as cultural signs loaded with intrinsic meaning and value – akin to images rather than mere text.
In the midst of the sleek allure of Georgetti’s work lies a deliberate disruption of expectations. Assimilating modernist tropes that Georgetti uses to trigger cultural nostalgia, his seemingly haphazardly cut and affixed collaged elements reveal a rawness that challenges the notion of the art object’s aura, as discussed by critical theorist, Walter Benjamin.
