George begins by discussing his current work, travelling and recording, and how, in an ideal week, he sifts through the material accumulated on his last trip while making plans for the next. “If it's a good week,” he says wryly, “that works – and if it isn't, it doesn't.” For George, this combination of the illustrative challenge of representation and the exploratory challenge of travel is what drives him to produce the best drawing, and he goes on to talk about the advantages illustrative reportage still retains even in the era of photography, such as the ability to curate collated work and the power to represent more than just an instant in time.
He discusses his early life and the beginnings of his interest in reportage, studying illustration at Kingston University, and reveals that it was after his university career, while illustrating the first British military tour of Afghanistan, that he realised that reportage was for him. “I think you have to go to a place where you feel like you have a reason to be,” he says, “and that inspires you to do your best work.” For him, this place is wherever he can tell a story that might otherwise go undocumented. Asked how he makes this work pay, George breaks down his sources of income into two main categories: selling original prints at exhibitions, and selling illustrations to magazines and newspapers.