Margareta Sandhofer (published in the catalog accompanying the exhibition of the same name)

The oeuvre of Georgia Creimer spans across a diverse range of media, including drawing, painting, photography, film, and sculpture, extending to large-scale installations. While her themes may appear expansive, they ultimately return to a fundamental existential exploration: the human condition as an existential entity, in which spiritual states, physicality, and emotional sensitivity converge into a unified experience. Georgia Creimer's work reflects the complexity of human reality through metaphorical and imaginary metamorphoses. Her large installations, which often transform entire spaces into immersive environments, bring together the individual elements and various media into a cohesive, multilayered organism. A distinctive feature of her work is its inherent corporeality, often articulated through biomorphic forms that manifest in ambivalent and surreal ways. Using a finely calibrated color palette, she creates large-scale drawings and paintings that appear to occupy a vital space between the fleshly and the vegetal. These works seem poised to mutate from one state to another or to simultaneously embody both. At times, Georgia Creimer's art pushes the grotesque aspects of art history into the visionary realm of the monstrous. Yet, even in such instances, her work is marked by an underlying subtlety and a refined elegance of style.

In the exhibition VIENNA TODAY, Georgia Creimer presents a selection of photographic works on her wallpaper installation, "out of Snugged". The elements of the wallpaper, repeated in a rapport pattern, are both naturalistic and artificial. These elements are derived from drawings created by Georgia Creimer in a process she calls "semi-blind drawing", from which she consciously extracts and refines forms, further developing them into new drawings and paintings. Through repetition and mirroring, she formulates the wallpaper’s visual identity— an autonomous, expansive artwork that, in its paradoxical nature, adheres only to its own logic, incorporating other works into its bizarre cosmos. For instance, "Handling (with parts of puzzle)" refers to her major work "Untitled (for Shanghai)". "Untitled (for Shanghai)" is based on a piece Creimer created for the subway station at Karlsplatz in Vienna. The photographed arms are her own, painted with black ink to give them a sculptural, lifelike quality. At the center of the work are two hands, reaching out to one another, either on the verge of meeting or having just separated—the ambiguity is deliberate. Each hand reveals its own sensitivity and social intelligence, reflecting the individuality among the thousands of people who, deep underground or while visiting a museum, maintain their anonymity. The concept behind the piece is to suggest a moment of pausing and returning for the passersby, evoking not only physical, but also emotional closeness.