Georgina Ellen

Painting (MA)
Image of a white woman with dark blonde hair and a white blouse smiling and looking at the camera, with a charcoal drawing behind her.
Charcoal drawing of a group of figures in a street at night, wearing head torches
Charcoal drawing of a group of figures in a street at night, wearing head torches
A Thousand Eyes, charcoal on paper with UV-sensitive ink, 112 x 152cm
Charcoal drawing of a some people on a street with purple text highlighted by a UV torch
Charcoal drawing of a some people on a street with purple text highlighted by a UV torch
A Thousand Eyes (detail), charcoal on paper with UV-sensitive ink, 112 x 152cm
Charcoal drawing of a dark street with a lorry
Charcoal drawing of a dark street with a lorry
How Would You Feel?, charcoal on paper with UV-sensitive ink, 76 x 112cm
Charcoal drawing of a car on a street with purple text highlighted by a UV torch
Charcoal drawing of a car on a street with purple text highlighted by a UV torch
How Would You Feel? (detail), charcoal on paper with UV-sensitive ink, 76 x 112cm
Charcoal drawing of a group of figures in a street at night, wearing head torches
Charcoal drawing of a some people on a street with purple text highlighted by a UV torch
Charcoal drawing of a dark street with a lorry
Charcoal drawing of a car on a street with purple text highlighted by a UV torch

About

Georgina Ellen (b. 1998) is a London-born and-based artist and activist.

Drawing on her personal experience of attending vigils for animals condemned to slaughter, she makes work exploring visibility, perspective, and empathy. She combines images and text to portray the darker side of society’s demand for flesh and the devastating impact on the beings who bear the consequences.

Her images are based on real encounters outside a London slaughterhouse, where she joins others in documenting and bearing witness to the final moments of animals bred to be eaten. Using charcoal and ink that becomes visible under UV light, she highlights the elements of farming animals that are usually concealed, and the tension between what is seen and what, or indeed whom, is overlooked.

By bringing these hidden moments into view, her work invites the viewer to consider their own position within the systems that ensure this suffering continues and reflect on what empathy might require when we truly choose to look.

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