There’s a delightfully dark femininity lurking in the bulbous, almost childish floral forms cobbled together from odd ends of string (like the kind your granny has a drawer of), and bits of kitschy wrapping paper printed with the “who was paid to design that” motifs you find on vinyl tablecloths. Georgie Hopton’s piece oozes with rich, salty knowledge and confidence. There’s a woman who knows their own mind behind the loopy, lumpy work—and isn’t that what a witch is, when you come right down to it? A new show of Hopton’s work opens tomorrow at Lyndsey Ingram.
