Introduction to exhibition at Piers Feetham Gallery, 2017

Art is ... is a process which can take one of two essential directions – an inward path in which abstract forms and colours become the markers of conscious and unconscious response, or a turning outward, to external visual stimuli – landscape, natural history or the figure for example – as metaphors for thoughts, feelings and ideas. And yet, while Georgina Allen's quiet and subtle landscape and still-life paintings may, quite obviously, seem to belong to the latter class, the more you look at them the more they begin to take on a distinctly inward, contemplative character also. Thus the forms of the Pembrokeshire landscape that she has been painting so intently for nearly a decade now are unmistakably taking on the depths and resonances of abstraction, in which the inflections and variations of colours, tones, textures, lines and forms become an essential element in these intense meditations on conscious experience.

A similar process is apparent too in the still-lifes that have long formed the other central strand of her work. When I first visited her studio … the sight of her studio floor covered with a quite astonishing array of stones and bones, butterfly wings and feathers, strands of seaweed and women's gloves immediately alerted me to a very particular artistic intelligence at work, one in which abstraction again played a vital part. Those attitudes are still very much in evidence in these new pieces though now one also senses a quiet shift of emphasis, a degree of plainness in which the objects being painted are there even less for their individual extraordinariness and rather more for their abstract relationship to each other ... Paradoxically this seems, to my eyes at least, to place the focus back on the intense 'objectness' with which they now seem so movingly imbued.

Nicholas Usherwood, Features Editor, Galleries magazine

Introduction to exhibition at Piers Feetham Gallery, 2008

To be deft and apt, and as consequential as a vital witness statement, is an achievement. To be so while remaining unpushy and unobvious is a remarkable one.

William Feaver

Introduction to exhibition at Piers Feetham Gallery, 2011

In the melting pot of contemporary art practice, Georgina Allen has chosen to be a painter and a very painterly painter, at that. She uses the seductively expressive qualities of highly wrought paint surfaces, dabbed or dragged and scratched to capture fleeting effects of ever-moving air and water over earth, grass, rock; changing clouds and light in the sky and on the sea and shadows on the grass … She exploits a long tradition of painting quickly in the open air, but the apparent spontaneity of the rapid marks and arbitrary cutting-off is deceptive, concealing careful planning: each viewpoint is thoughtfully considered and placed within the formal balance of the composition … She uses recognisable things – stones, faded flowers, shells – to create abstractions and … she puts the onus of interpretation on the viewer. The uniform size and tone of the paintings emphasises the subtlety of choice and the precise placing of the elements.

Charlotte Gere

Introduction to exhibition at Piers Feetham Gallery, 2014

[These are] abstract paintings in which the focus of her eye is on the rhythms and shapes of the objects that she brings together and then paints with such a controlled, painterly touch. Arranged and painted with careful regard to the scale and proportion of the objects within each arrangement, what you can get is a greatly enlarged rendering of often quite small objects. The effect is not only to make you pay proper attention to what you are looking at but more importantly, and unexpectedly, to induce a sense of wonder and awe at the sheer incorrigible variousness of things.

Georgina Allen does something very similar in fact when it comes to her paintings of the Pembrokeshire coastline … in that it, again, becomes a kind of found, abstract landscape, looked at not for its picturesqueness but for the forms and shapes which it provides her work. Painted again on almost uniform-shaped boards – smallish and panoramic in shape in this case, because she considers that is very much the overriding geological ‘shape’ of this particular landscape.

Nicholas Usherwood, Features Editor, Galleries magazine