For example, The Coming of Spring retains George’s habit of depicting an interior space with a view to the outdoors. But this time our attention is immediately drawn to the large washes of paint thinly applied on the canvas. Combined with the movement of line, the bloom of paint into the canvas, and the curves of the cups and vessels, an overall atmosphere is created that gives the impression of being at the beach. In Conjunction of Space, the legs of a sawhorse lead our eye up to the draped fabric, past the yellow box that obscures a vase - whose plant leaves interrupt the long line from the bottom of the picture upwards - and to the large rectangle that occupies the upper left half of the composition. The overall space is not flattened, but it is brought forward, making us contend with what we are viewing.

In Glass, Vase, and Picture Frame, the sawhorse is not visible, but the toned down, shaded fabric forms a surface that separates us from what lies beyond. The same large rectangle in Conjunction of Space is present in the background of this work, yet here it asserts its presence where the edge of the table ends, in the lower left corner. In both paintings, our tendency to label and define arises: what is the rectangle? Why does it occupy so much space? What is its purpose? Considering the acts of looking, seeing, and exploring in George’s practice, it may itself be an archetype: a blank canvas that represents the many possibilities of creation, borne through wonder and questioning. After all, a purpose of art is not to render precisely what we see in reality, but to shift our perceptions to what the visible world conceals: the unseen forces, the invisible mysteries.