Georgina Maxim creates work from cotton and wool threads and pre-worn items of clothing, reforming the garments into textile sculptures. The work is undertaken through the laborious repetition of dhungemutunge, her haphazard, looping signature stitching technique, repeated in precise monotonous lines. Connecting and attaching layer upon layer of finely sliced strips of fabric to the foundational garment that is the canvas of each piece.
The practice of handing down clothing in Zimbabwe is a ritually symbolic gesture. Maxim plays with and respects these traditions as well as modifies them, creating purely abstract forms.
In these new works, Maxim makes a significant departure in her choice of sourced materials, turning to her own wardrobe for the canvas. The finished work is abundantly colourful and bright, contrasting the guarded titles that hint at a displacement of emotions analysed during the making process. They are rich, poetic expressions, energetic records of memories and charged conversations.