The Language of Painting
In Conversation with Georgia Beaumont
We caught up with Georgia Beaumont, the London-based artist behind this season’s arrangement guides. Georgia is a self-taught painter whose work delves into the shared life force between the natural world and the landscape of our human thoughts, emotions, and memories. Her central motifs are reimagined floral forms and stems that sprawl over the canvas and blend into sigils in a dance with symmetry and symbolism.
Read the full interview below to learn more about her process, the philosophy behind her work, and the significance that flowers and connection to nature hold for her.
You’re a self-taught artist. How did you pick up painting and what was the path that led you to develop your unique style?
I’ve been painting since childhood as a way of escaping into my own world. Becoming an artist felt like a quiet dream growing up, but it felt like the barriers to entry for a career in art were insurmountable when I hit my early twentines. I actually dropped out of two degrees, was a gallery intern and then went into an office job instead. I always had a persistent ache to be back in the studio. I moved to Barcelona and took a studio for 3 months, which then turned into three years. I worked part time at Florentine Kitchen Knives in their workshop and on their communications, whilst also keeping a studio practice. Life there felt well balanced - the city gave me the space to make work without inhibition and with no real end goal, and ultimately develop a painting discipline again.
I then left Barcelona in 2021, moved in with my Dad and stepmum in rural Dorset, and it was in two years spent there that my current style started to emerge. I spent a lot of time on countryside walks, closely observing the changes in colours and forms of the nature around me.
Talk to us a bit about the philosophy behind your work. You speak of a “self-generative language” of painting and a shared life force between the natural world and the emotive landscape of humans - how do you tap into those connections and how does it influence your process?
As my work has developed, I’ve inevitably felt the floral forms regenerate and evolve. Whilst there’s an overall sense of repetition, I discover something new every time, through a series of tiny adjustments. So I’m in a feedback loop with myself and the work, listening quietly. In this way it has become my own language, and I’ve started to view the forms less as visual representations of flowers, but as a script of symbols I am developing and learning as I go. I’m interested in the link between human representation of nature and how this has occurred symbolically throughout history. There’s always been a deep-rooted desire in us to visually represent what we see, what we adulate, there has to be a spiritual significance there. And to me, this means a connection of the natural world’s consciousness with our own. In fact, I lean toward panpsychist theory, that all matter has its own form of consciousness. In terms of tapping into it, it’s a process of listening to the intuition of my mark-making and colour choices that sometimes feel pre-ordained, associated with a collective, universal life-force.
How do you stay connected to nature in London? Do you keep flowers in your home or creative workspace?
I live near Columbia Road, so I often stop by the flower market on Sundays and take some into the studio. I always feel enlivened by having flowers in my space, they’re an anchor to peace and nature. I love taking walks through Regent’s and Hyde Park, especially during the times when one season is changing into another. These parks help me feel connected to my city, too. London can become very intense, so having these big green spaces is lovely.
Do you have a favourite stem - whether to have around or as a motif you keep coming back to - and, if so, what’s your emotional connection to it?
I have a pine cone inspired bud that often appears in my compositions that I particularly love. It feels representative of new life and potential, something that is fecund and powerful. It appears as a giant teardrop or seed-like shape, with layered curves; it feels both masculine and feminine.
Both real-life flowers and your floral art bring nature into our spaces and thus closer to us. What significance does that hold for you - and for us, as humans, on a wider scale?
On a well-being level, nature is intuitively understood as so important, we don’t even have to understand the psychological nuance as to why it enlivens us, we just feel it with immediacy. It ties us to the earth, to who we are, and to who we always were. Immersion in nature, listening to its wisdom and allowing ourselves to be awed by it, makes us better, more conscientious people, sensitive to our world and to each other.
How does the tactile element of painting, or any craft for that matter - be it flower arranging or writing in a journal - nurture your connection to your art? Do you dip into other art forms, crafts, or rituals to keep you grounded and inspired?
Painting in oils feels so delicious. My work is all on smooth birch plywood, and the paint glides over it so beautifully. The super smooth surface of the wood is also a great foundation for me to be able to build layers in my work with various mediums through glazing. It's an addictive feeling. I predominantly paint, but have experimented with ceramics and plaster sculptures in the past, both feel therapeutic and a nice way to make my brain work in a different way, helping to clear any creative blocks leftover from painting. I also love to cook, with music on and a glass of wine, making a long elaborate recipe that I can just settle into feels semi-meditative.
Finally, do you have any exciting projects or exhibitions coming up? Or are you working on something special that you’re particularly passionate about?
I have my third upcoming solo show with Wilder Gallery in Kensal Rise in the spring. Working on a solo is especially exciting as it allows you to delve deep into a body of work and its concept over a period of months. It’s a beautiful bright gallery space, and I’m excited to share a couple of pieces in a different format that I’ve been dreaming up. I will also have some pieces going into Soho Home. There’s also something in the pipeline with Ca’Pietra who make beautiful tiles.
Georgia’s works have been exhibited in London, Barcelona, Milan, Florence, Mexico City, Menorca and Sydney, and are held in private collections internationally. You can find out more about her art and upcoming exhibitions on her website.
Posted on 15th January 2026