Let’s go back to the start. How did it all begin? What is it about typography that drew you in?
I grew up in Newcastle, always drawing, painting, bringing every school assignment back to some elaborate header or graphic kind of detail. I moved to Sydney to study Visual Communications at UTS and it all came full cycle in my final year where my major project was focused on mixed-scale lettering installations. You could say it’s all coming into an even bigger cycle still, as a lot of the word play and texture work I’ve been developing really throws back to when I was very young… it’s a long trip but it’s working out!
Who or what are your biggest inspirations?
I’ve come to be really inspired by a lot of the people I work alongside, which isn’t always about the exact style of work they produce but the where, why, how long they’ve worked and pushed themselves to do better, different, or totally new things. On a totally other angle, I really love looking to things outside of the illustration and type worlds. I look at a lot of editorial styling, fashion design, jewellery design, graffiti and architecture.
I see you worked for a year in Berlin. How was that?
Super challenging but also super rewarding. I met some really amazing illustrators and other artists who made me shape up and deal with what I really want out of all of this. I hate admitting it but I need a certain level of comfort to make good work, but you always need to be challenged or else there’s just no point.
I love how your work is simultaneously classic and ultra-modern. How do you think those elements work together in typography?
Type has existed for so long in so many forms that there will always be classic elements to it, but I also feel for that very reason there’s so much room to push it and play with it. I think that I often use a bit of a bootleg-Futura with really graphic textures which brings the two together, so it’s not that I’m reinventing lettering, but rather the scene that the message is sitting in.
You work with a range of mediums on both small and large scale projects. Do you think it’s important as an artist to continually mix things up?
I worked really hard to create a visual language of my own that could translate across a lot of mediums and still be seen as ‘mine’ – my style, instantly recognisable as a ‘Georgia Hill’ thing. I initially studied Visual Communications as I could never decide exactly what I wanted to do. My work has involved all sorts and hopefully soon I’ll be on to large scale installations taking over spaces, art direction and so on. Every time the scope changes my work is pushed that bit more too, which really is the whole point.
Do you believe street art can make a difference to urban city life? How does it feel to be making your mark?
Oh for sure. I find people really open up to street art when they see a style they like. It can range from being something someone sees once, to changing their whole day, the way they walk to work, what they think about an area, how a whole town is seen. I love the context for each person is so different and how the effect keeps developing with time.
Thanks for what you do! Any final advice for budding artists out there?
Get on with it! It takes a lot of time to find your own style but the sooner you just get the ball rolling, you’ll start to find your role. Draw, paint, talk to other artists, cold email even though you usually feel like a goose. I feel like I spent a few years putting off doing all of this, which is exactly what I wanted all along. You grow up along the way, it all works out, it’s just better to start sooner than never at all!