Back in the mid 1970s I was with a group of students from the ETH-Zurich who studied with the architect and collage artist Bernhard Hoesli (1923–1984).  During my studies I traveled with the architect Franz Oswald and the New York artist Robert Slutzky (1929 - 2005) to Italy for collage-making workshops. Slutzky taught us about the intimate relationship between form and color palettes. Trips later in my life to India and other places in the world open my mind to other ways to incorporate colors and narratives. The pieces are constructed in a way that is both precarious yet stable. They are designed as part ‘painting’ and part ‘sculpture,’ meant to be seen from various angels and distances.
​

In my current work, I've attempted to cultivate a visual language that gives form to these fascinations. This language grows out of my ongoing dialog with key painters of the 20th century, yet, it is also primal, arising from a place of mystery and dream.

I reject recognizable form and the decorative, though the beauty and lushness of organic and geologic form often asserts itself. I work each painting just short of logical completion. I transform any image that takes a too conventional turn.
​

The physics of consciousness, in relation to modern quantum mechanics theory illustrates my intention in regards to my paintings.  Many are starting to analyze what consciousness is and the physical connection between our consciousness and/or spirit and the universe, that we are truly interrelated. This concept fascinates me.

In the sciences, both physical and metaphysical, a singularity represents a unique and unfathomable moment when logic and non-logic become one and shift meaning. A singularity is simultaneously the beginning of time and the end, as well as its revelation.  One both exists and ceases to exist.  One is both infinitely massive and void of volume. The singularity remains a focal point in my work.  While considering this, which harbors the most illogical of places, the desire for the most logical appears as a shelter, an anchor, a sanctuary:  home. Gradually, in my works, a house-like shape emerged, and became an important element: a counter-point to a universe, poised on the knife edge of meaning and the precipice of the void.
 
The paintings are on panel, and consist of oil paint, oil pastel, dry pigment and wax medium. This combination produces a balance between luminosity and saturation, with a focus on texture and the relationship between minimal objects and space. The background and foreground is interchangeable, creating an illusive space, yet there are very distinct relationships between them.         

​I believe that the search for meaning is at the core of our purpose. This search is a duality. By giving meaning to our existence we give meaning and purpose to existence. The goal is to unite or reunite our essence with the universe out there, to become one.
​

​George is known for an architectural influence on his sculptures and paintings, employing classical facets of light and structure. His work is introspective and atmospheric.