Although her work is peppered with architectural paintings and drawings of houses, train stations, and cityscapes, the majority of Georgia Speller’s output consists of orgiastic, ecstatic scenes of revelry. These orgies occur outside of temporal bounds, and women are the dominant, or at least mutually benefiting, partners.
For Speller, sex is the a natural, integral element of all relationships, which presumably included her own. ‘Love Your Dick’ and ‘Whoops, I’m In’ caption brightly-coloured paintings which celebrate life-force, energy and celebration.
Art historian Xenia Zed has described her work as ‘the revisionist feminist of the nineties; the sexual exhibitionists of the sixties and seventies; the romantic/erotic/pornographic gaze; the symbolic that can range from thoughts on African retention to psychoanalysis.’