Georgia Spray is the founder and brains behind Partnership Editions – a curated community and platform that works collaboratively with emerging creatives to unearth and spotlight accessibly-priced original artworks. Following six years in the professional art world, across institutions that span White Cube Gallery and Christies, Georgia founded Partnership Editions in 2017.

Art means something different to everyone; it plays a different role in people’s lives. Art is an innate response to something, which can’t necessarily be put into words. In an increasingly digital age, art (even the digital kind) is a process of making and craft – and that’s what makes it so natural and human.

Woman Reading, Isabella Cotier, Oil Pastel and Indian Ink, A4, £280. Click here to view on Partnership Editions.

Because of this, I’ve always wanted to make art accessible. It shouldn’t be elitist. In the way that news and information should be available to all, so should art. It’s about current issues, so it needs to be brought back to reality.

That’s not to say that all artists are political; in fact, this idea is often projected onto artists, which can be tricky. There are a lot of views that are projected onto artists that aren’t necessarily their intention. It’s important to listen to an artist, and not to speak for them. Some artists don’t like to have a thesis associated with their work – it’s just meant to be about a viewer’s innate reaction to it. We need to learn to let the work speak for itself. Politics and art can be conflated as one thing – and that’s not always the case. Being a female artist, for example, doesn’t automatically mean you’re a feminist artist.

Scarlet Nude 1, Alexandria Coe, White Chalk on Red Paper, A3, £400. Click here to view on Partnership Editions.

That said, it’s towards this area that I find myself drawn most. I am really admiring of women who have reclaimed the subject of the female nude; it’s exciting that women are able to draw other women now. It used to be such a male-dominated field, with men objectifying their subjects. Now, women are taking ownership of their bodies, and that’s really wonderful to see.

I always work with artists that I feel personally drawn to. It is very much a curated platform. Many young artists, for example, face difficulties around learning commercial skills. For some, it can be hard to be artistic and commercially minded. For me, it’s a constant process of discovery. My goal has always been to make sure that the collective is and feels really authentic. 

Nude on pale peach with blue wall, Hester Finch, Ink, Pastel and Spray Paint on Paper, 32.5 x 25cm, £550. Click here to view on Partnership Editions.

Nowadays, a lot of people are collecting artists as if they’re a brand – an investment that they can buy and put into their vault. People are purchasing a name, rather than an artist’s story or for the enjoyment of a particular piece. 

I’ve always wanted to bring it back to the raw creativity, to the reality – particularly in an industry that may be losing sight of itself.

Click here to visit Partnership Editions; follow on Instagram at @partnershipeditions. Main image: Georgia in Jonathan Schofield's Studio, ©Appear Here.

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