https://www.georgiasaxelby.com/about-us daily 0.75 2025-11-13 https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/1629090133110-WODZR40LDIJCQFDZGYK0/Untitled-1.jpg Homepage https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/1675220728874-IIBI2MEXSZ23KZEFQAXN/3_Architectural+Ornament+%28Lilac+with+Red+Gems%29.jpg Homepage https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/1580337465689-0QWICOKBLJPK9DV1EEAK/MB6B1736.jpg Homepage https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/1711565172748-3XXT8Z5RONCYE3J6TVC7/Georgia+Saxelby+4.jpeg Homepage https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/1545814520059-YO3ULRZ2T2CLWPMZOETJ/To+Future+Women+installation+at+IA%26A+at+Hillyer+art+space%2C+Washington+DC_2018_photo+Kate+Warren_1.jpg Homepage https://www.georgiasaxelby.com/press daily 0.75 2020-01-25 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Projects https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/1544965061098-A2JMVSVLTMIDWMG96Z17/MB6B1806.jpg Projects https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/1629088339527-O862GVSEBOO8NXEVS00E/MB6B1789.jpg Projects https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/1544965062197-FFL4SG54RNR0GQG1MR5H/The+Architecture+of+a+Witch%27s+Hut_interactive+installation_2017_Wassaic%2C+upstate+New+York_photo+Subodh+Samudre_3a.jpg Projects https://www.georgiasaxelby.com/about daily 0.75 2026-06-25 https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/07dbd3bb-96d6-4b86-b824-7ee5b5e135c2/image00018c.jpeg About - About Georgia Saxelby is a Los Angeles-based artist working across sculpture, installation, and architectural intervention. Her practice constructs fragments of imagined worlds, proposing alternatives to the spaces, rituals, and beliefs that shape public life. She has built witch's huts, proposed redecorating Neoclassical façades, choreographed new rituals inside national monuments, and infiltrated national archives with a twenty-year time capsule of women's histories of resistance. Her work reveals that these structures are neither fixed nor inevitable, but open to reinvention. Her recent work expands this investigation through glass, using the material as both sculpture and optical instrument. She creates spaces inhabited by mirages, where form is never fixed and images shapeshift, cultivating new ways of seeing that make new worlds imaginable. https://www.georgiasaxelby.com/lullaby daily 0.75 2019-01-16 https://www.georgiasaxelby.com/about-1 daily 0.75 2021-12-06 https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/1629090133110-WODZR40LDIJCQFDZGYK0/Untitled-1.jpg Homepage image 1 (Copy) https://www.georgiasaxelby.com/makebelieve daily 0.75 2022-08-28 https://www.georgiasaxelby.com/power-institutes-curtis-artist-fellowships-2026 daily 0.75 2026-06-29 https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/660a8b18-776c-43bd-974d-f4a624ac6a6f/k.+Descent.jpg Power Institute's Curtis Artist Fellowships 2026 - Make it stand out Descent, 2024, kiln-formed glass, cable and projected moving image, dimensions variable. Installation view at Miller Institute for Contemporary Art, Pittsburgh. https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/51148262-772e-46fa-b4f9-fa0f091f0e6b/f.+The+House+Opposite.jpg Power Institute's Curtis Artist Fellowships 2026 - Make it stand out House Opposite, 2024, kiln-formed glass, steel, rear-projection screen and projected moving image (distorted footage from The Wizard of Oz). Dimensions variable (glass sculpture is 76cm x 51 cm x 1cm). Installation view at Miller Institute for Contemporary Art, Pittsburgh. https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/1711565172748-3XXT8Z5RONCYE3J6TVC7/Georgia+Saxelby+4.jpeg Power Institute's Curtis Artist Fellowships 2026 - Make it stand out House Opposite, 2024, kiln-formed glass, steel, rear-projection screen and projected moving image (distorted footage from The Wizard of Oz). Dimensions variable (glass sculpture creating refraction is 76cm x 51 cm x 1cm). Installation view at Miller Institute for Contemporary Art, Pittsburgh. https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/1711565173386-84NUK701QM3XMT9AA4B8/Georgia+Saxelby.jpeg Power Institute's Curtis Artist Fellowships 2026 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/4ab447ed-4d74-44b5-a868-752e4b60a43e/For+website_Violet+Hieroglyph.png Power Institute's Curtis Artist Fellowships 2026 - Make it stand out Violet Hieroglyph, 2024, kiln-formed glass, steel and projected moving image, 81 x 44 x 23 cm. Installation view at Miller Institute for Contemporary Art, Pittsburgh. Magic Hour comprises a series of kiln-formed and hot-sculpted glass sculptures that bend, warp and scatter video projections across the gallery space. The glass objects fracture moving images into shifting apparitions that crawl across the walls, flicker through apertures, and blur in and out of focus, eluding rational, perspectival ways of looking. Saxelby uses glass as an optical material to find ways of seeing that resist the certainty of edges, hierarchies, and absolutes. In Magic Hour, form is not a fixed entity, but becomes a mirage or an afterimage on the underside of one’s eyelids. https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/1545855010067-83QJ2CQX0TIXW4OKJYAL/Lullaby_2-channel+still_unde+5mb.jpg Power Institute's Curtis Artist Fellowships 2026 Lullaby, still from 2-channel video installation with sound (15 minutes duration), 2017-19 Lullaby frames monumental architecture as a haunted cultural fiction — structures that encode patriarchal and colonial hierarchies as authoritative spatial systems. The two-channel video installation documents a series of performances staged at five of the monuments in Washington D.C., including the Lincoln and Jefferson Memorials. To counterpoint their seeming permanence and rigidity, Saxelby turns to ritual as an ephemeral social symbolic behaviour capable of transmitting cultural knowledge across generations and geographies. Through invented ritual gestures, the work presents a proposition: can we invent new meanings for old monuments by embedding them with new choreography and behaviour? Using the existing structures as raw material, Saxelby contorts them in the editing process, composting their static, singular, authoritative forms into architectural imaginaries that are fluid, shape-shifting and multiplicitous. https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/1629085273923-5GHN8AJIJUHJDBG5BACK/Georgia+Saxelby_Lullaby_Embassy_Kate+Warren_2.jpg Power Institute's Curtis Artist Fellowships 2026 - Make it stand out Lullaby, 2-channel video installation with sound (15 minutes duration), 2017-19. Installation view at the Embassy of Australia, Washington D.C. https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/d1ae8a65-4d41-48bb-b1da-044d30e1c215/Untitled+%28Architectural+Ornament+1%29_Georgia+Saxelby_2022_Photo+Shan+Turner-Carroll_JPEG.jpg Power Institute's Curtis Artist Fellowships 2026 - Make it stand out Architectural Ornament (Lilac with Red Gems), 2022, earthenware, glaze, lustre, glass frit, resin, iridescent film and aluminium, 46 x 46 x 17 cm. Exhibited at the American University Museum, Washington D.C. In Propositions for Architectural Ornaments, Saxelby invents speculative ornaments to re-decorate Neoclassical facades of monumental architecture. Her glittering and colour-shifting ornaments in ceramic and glass are drawn from the costume jewellery collection inherited from her late Polish grandmother and enlarged to an architectural scale. This series was developed following an 18-month artist residency in Washington D.C., a capital designed to project imperial ambition through Neoclassical grandeur. Saxelby weaponizes the fantasy and artifice of costume jewellery against the Classical tradition's fear of surface decoration as corruption (Adolf Loos: "ornament is crime"), aiming to expose Classicism's obsession with purity, austerity and naturalness as themselves constructed and artificial. In doing so, she proposes re-decorating as a form of architectural drag and as a strategy of subversion and reclamation. https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/6fd12a18-f4eb-4320-96e4-73dc85a8d9c9/Ursula+website.png Power Institute's Curtis Artist Fellowships 2026 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/1675220980060-KR1TGGYU7OEDJC9XB7LN/20220911-GeorgiaSaxelby_AU-2703.jpg Power Institute's Curtis Artist Fellowships 2026 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/1629087242884-ZHR1541K8PZYQ0JFW6S2/GoKateShoot24200.jpg Power Institute's Curtis Artist Fellowships 2026 - Make it stand out To Future Women, 20 year time capsule, participatory installation and archive intervention, 2018 and 2037. Installation view at the Smithsonian Arts & Industries Building, Washington, D.C. To Future Women (2018, 2037) is a twenty-year time capsule of letters written by the public to the next generation of women, memorialising the 2017 Women's March and #MeToo movement. Presented across five museums and art spaces in Washington D.C. on the one year anniversary of the Women's March, it received over 3000 letters in 10 different languages, including from Hillary Clinton, Jill Biden, three generations of one family, a kindergarten class, and an incarcerated man. It archives the desperate longings and desires of real people fearing the loss of women's bodily autonomy and civic rights, using the intimacy of the letter form to ground political resistance in a personal human relationship across time. Operating under the premise that what a culture ritualises is what it finds valuable, Saxelby questions how we remember and ritualise women's histories of resistance, instrumentalising art institutions as makers of culture and history. By framing the archive as an artwork and embedding re-exhibition in the contract, she holds the museum contractually accountable as a caretaker of women's protest histories. To Future Women is currently inhabiting The Phillips Collection Archive until 2037, when it will be re-exhibited on January 21, the 20th anniversary of the Women's March. https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/0b74e19a-16d5-472a-813e-4bb16041d692/GoKateShoot24322.jpg Power Institute's Curtis Artist Fellowships 2026 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/1544961426836-9U6ZPKJCM3SG9SLRC0OU/To+Future+Women_+IA%26A+at+Hillyer_Georgia+Saxelby_Photo+Kate+Warren.jpg Power Institute's Curtis Artist Fellowships 2026 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/1579980091159-TFHPNJ7630SASNQZYVJC/3b.jpg Power Institute's Curtis Artist Fellowships 2026 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5b049bc39d5abb38aa63d069/1580337465689-0QWICOKBLJPK9DV1EEAK/MB6B1736.jpg Power Institute's Curtis Artist Fellowships 2026 The Architecture of a Witch’s Hut, 2017, site-specific participatory installation, dimensions variable. Installation view at The Wassaic Project artist residency. The Architecture of a Witch’s Hut stems from the idea that a witch’s home is one of the few typologies of architecture built by a woman for herself. The artist independently built a hut — its height determined by how high she could reach on a ladder and its joinery determined by the tools and materials on hand. Created during an artist residency in upstate New York, the structure references the surrounding New England architecture and the history of witch persecution in nearby Salem, 300 years prior. The project culminated in a collective burning of the hut with fellow artists and members of the local community, reclaiming fire from its centuries-long use as an instrument of women's persecution into an invented ritual of communal remembrance.