George Morton-Clark


Ever since I was small I’ve looked at paintings like movies that will never reveal their endings – stories that will go on forever; and forever be written. To appreciate art is to be at one with your thoughts and your experiences. These are what bring the art to life. And the idea that when someone looks at one of my paintings it can generate a completely different emotional experience to the next person. The power of an image lies in its near-infinitesimal interpretation.

But painting for me is not a choice, it’s a necessity. An integral part of me as a human being. Ever since I can remember, I have wanted to create. Each painting is a therapeutic journey, from first to final brush stroke. The start point can be something as simple as a colour or image, after which the emotions gather and quickly an initial concept crystallises. Each piece falling into place like a puzzle. But the process is fluid: the first idea can change drastically as I paint. But rather than frustrating, I find these developments are the most exciting part of the creative process. Making mistakes leads you down paths that you would otherwise never of found. This process accounts as much for style as for content and it’s why I tend not to sketch – I find I’m more creative while painting and better at manipulating the colours and image while ‘in the moment’.

​The colour and the fall of the paint help to direct the piece as much as anything. A slight difference in tone or an unplanned paint stroke can alter the image and start a whole new game. What may at first appear to be a mistake is more often than not the painting revealing itself to me. This organic method – in part a sort of free association of ideas, colour and images – can at first seem to obscure the ‘meaning’ of the painting. But by letting my subconscious lead the creative process there is arguably a greater truth that’s revealed in the final piece. Something deeper, something that is closer to myself and the essence of artistic generation.


2013 Macmillan Cancer auction, London
Stroke Art Fair, Galerie flash, München
International music summit,  Ibiza
The Multiple Sclerosis Society, 60 years Auction,  Bristol, UK
2012 1 Jahr Galerie flash, München
Brit week, LA,
Art mosh, Munich,
Factory project, Hospital club, London
2011 Walls and frames, Pictures on walls,
​1,  underdog gallery, London bridge,
Less than zero, Virgin Islands,
See no evil, Bristol,
Urban in Ibiza, Ibiza, Azerto hotel,
Factory project, Red bull studios, London,
Group show, Whisper gallery, London
2010 From L, Lille, France,
Red propeller group show, England,
Eat your heart out, Shoreditch,
Mad artist tea party, Future gallery, London,
Geshia, London v Brighton , Brighton
Art against knives, Honda, Truman Brewey,
2009 Cork street, Mayfair, London,
Mutate Britain, west London,
Represent, Blackall studios, London,
The show must go on, urban angel, London


Walls and Frames, fine art for the streets.
Broken culture,
Stated magazine,

Woof magazine, 
Art nouveau,
The visual art beat magazine, front cover,
France’s national newspaper,
Lost at E minor,
Rooms magazine,
The Australian,
Open magazine,
Evening Standard,
Bizarre magazine,
Art daily,
The Australian

Russian national television,
Open magazine,
Evening standard magazine,
The independent,
Independent interview,
VNA magazine,
Viper magazine,
DCP magazine,
Empty kingdom,
Wooster collective,
Wines and Bowties,
Slamxhype magazine,
The Independent,
Juxtapoz magazine,