George Egerton-Warburton employs text, performance, sculpture, painting and video in his practice which embraces stylistic dissonance, and the syntax of conceptual art. Referring to day-to-day situations, Egerton-Warburton examines the discord between impulses and behaviour shaped by cultural norms. His work, varying in scale and duration, corresponds to the distortion of time in space constructed by late capitalism. At odds with this space, Egerton-Warburton questions it’s affect on mental health, social structures, his relationship with the natural landscape that is simultaneously nostalgic and destructive, and the body’s agency under the administrative labour processes required of it. He creates elusive situations anchored by droll humour and irony, where sympathetic structures and topologies of stress are cobbled together in textured installations.
Select solo exhibitions: ‘,’, Heide Museum of Modern Art, Melbourne, 2019; Coma, Sutton Gallery, Melbourne, 2019; Penal Café, Shoot the Lobster, New York, 2019; Cooking the Books, Contemporary Art Tasmania, Hobart, 2018; Wincing wind-chime, repugnant fold-out breath, Sutton Gallery, Melbourne, 2017; Pillow Torque, with Lauren Burrow, Physics Room, Christchurch, 2016; Weeping Glass Stool, with Lauren Burrow, Pansy, Melbourne, 2015; Administration is just Oulipian poetry, Perth Institute of Contemporary Arts, 2014; Just paintings, with Helen Johnson and Hamishi Farah, Westspace, Melbourne, 2014; Steaming ties, Artspace, Auckland, 2013; Dog, Studio 12, Gertrude Contemporary, Melbourne, 2013; Living with living, Sutton Gallery Project Space, Next Wave Festival, Melbourne, 2012; and Chicken Stampede, Next Wave Festival, 2010.
Select group exhibitions: TarraWarra Biennial 2021: Slow Moving Waters, TarraWarra Museum of Art, 2021; Freedman Foundation Scholarship exhibition, UNSW Galleries, Sydney, 2017; Untitled (A Mensa Halloween), 621 S Anderson St, Los Angeles, 2016; Mined Control, As It Stands, Los Angeles, 2016; TarraWarra Biennial 2016: Endless Circulation, TarraWarra Museum of Art, Healesville, 2016; New 15, Australian Centre for Contemporary Art, Melbourne, 2015; Recesses, Park View, Los Angeles, 2015; Plagiarist of My Unconscious Mind! Château Shatto, Los Angeles, 2015; Art as a verb, Monash University Museum of Art, Melbourne, 2014; Notes from the Field, Margaret Lawrence Gallery, Melbourne, 2014; Circulating Collections, TPP Museum, Japan, 2014; Melbourne Now, National Gallery of Victoria, Melbourne, 2013.