George’s work reflects her deep and abiding interest in the botanical world. It is where she turns to for her sense of color, whether deeply saturated or gently fading, and her forms that evoke simple elemental shapes in nature like twigs, petals or stones. Her pieces suggest growing things - blossoming, blooming, multiplying - and more quiet events of nature like seeds laying dormant in winter. These are the sort of commonplace events that she thinks are magical and spark her imagination.
She uses polymer clay rather than earthen clay or glass because translucency is important to her as well as being able to form the work by hand. She works the polymer clay in palm-sized increments and though the finished pieces span up to six feet they are composed of very small-scale parts. George feels that there is power in the subtlety of a limited scale and that the diminutive parts suggest a feeling of timelessness and infinity.