© 2018 george linou - artist

Comissions

"I have been fortunate to have numerous commission small and large.

The works highlighted are in currently been exhibited and in private collections."

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'Untitled'  Unsafe work place for Coles Logistics in South Australia.  2005.  Oils on canvas: 1500 x 2000 mm

Working as a forklift driver, one has to drive carefully through the warehouse, to ensure nothing is damaged due to worker negligence, however every workplace as its obstacles. This painting plays on the irony and multitude of mishaps happening at one time in the workplace where safety and warnings leap out.

 

I was commissioned to design and create a work that the workers could identify with that would  be a reminder of the risks and injury that could occur. I collaborated with the director of Coles through consultation and I was able to interview and sketch the workers during the composition phase of the painting.

 

This work hangs in the warehouse staff room and reminds workers of possible consequences associated with commonsense and it has reduced workplace incidences.

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I was commissioned by Zac Grooming to paint a specific wrap around work for the design of their salon. They saw my work ‘The Edge’ at the  Oaks Hotel in Glenelg and were impressed with its relationship to the area and needed a stand out feature work which referenced hair.

 

I crafted a wrap around canvas frame to fit the walls and painted in fine detail an image of billowing hair, which has a suggestion of organic form, representing the sea side location.

 

The work is on permanent display and has been commented by many customers as a form of image mediation, as the simplicity of painted hair creates a gentle and relaxing hypnotic gaze.   Please see link to salon.

'Zac Grooming for men.'  Shop 3, 72 Broadway, Glenelg South SA. 2003. Oil on canvas”   L shape frame canvas: 700 x 700 by 1000 x 700 

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'Western District Athletic Club 85th Anniversary.  2014. Printed on paper   297x 420mm

The committee of the Western District Athletic Club asked me to put together a collage of all the past athletes who contributed to the club over its 85 years. I have personally been involved with the club for over 10 years, as along distance runner and I was excited to create a simple photo motage.

 

I used a layering technique in Photoshop on a Mac and cut out hundreds of past athletes and assembled them as a chorological group. It has a humours notion of being part of a family that reflects a personal relationship to the club. It is on permanent display at the Athletics Club. Please see link to club.

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'Timeline of McLaren Vale Wineries South Australia'   2017.  Oils on canvas: 1000 x 2000 mm

I was approached by the Tin Shed to paint a panoramic work depicting the past and present along with key reference points to the changing history and community. I have visited the McLaren Vale area almost all my life, as its only a short drive from the city of Adelaide and each time I return I have a different sensation towards the changing landscape. I researched the town and its surrounding areas, which I have added as moments in time and as reference points from my memory

From the left, I painted a sepia and mono tone to suggest the history of a hard and developing life that shifts into gentle colours of how the land has offered the notion of milk and honey. In the centre is a Father and Son image, who are Ben and Harry who commissioned me to paint the work and key people in the community. The right section depicts the current state of the landscape, suggesting prosperity and good fortune, and the people sitting at the cafe are in the same spot where the workers ploughed its fields. This painting hangs at the Tin Shed café, please see link.

'The Edge'  panels A, B & C   Oaks Hotel, Glenelg South Australia. 2007

This triptych was made over a discussion with the management of the Oaks Hotel. They wanted a large scale work that could be hung in the Hotel foyer and have a feeling that reflected the beach area of the Glenelg sea side.

I researched the area by walking along the shoreline. The mixed media work is a  collection of oils, acrylics and a rendering of the canvas with paper-mache to create a three-dimensional form of the beach.

The work was on display in the hotel foyer,  where people would sit and relax looking at  its tranquil notion of being lost in the waves. In 2008 the work was sold to a private collector.

'Chicago in the Fall'   2009   panel A.   

Oils on canvas: 1000 x 450 mm

City-Bay-40th-Anniversary-Composite-2012

The idea for this painting, commemorating the 40th anniversary of Adelaide’s annual 12km City-Bay race, came over a cup of coffee with Joe Stevens, Race Director from the City-Bay Committee.  We thought that a composite painting of past winners all running together would be a unique way to mark the anniversary.

However, the painting has become more.  It is a celebration of the history and community spirit and continued thriving of the event, a big-day-out in Adelaide’s timetable that is recognized Australia wide.

My first goal was to portray the popularity of the event with theoverwhelming mass of people participating in the background.

In the foreground I have placed as many past winners of this race as I could, although logistically I could not include all of them, especially wheelchairs and walkers. 

 

You may recognise some of the legendary South Australian runners such as Grenville Wood, Nick Brown and Gary Zeuner.  There is also MaureenMoyle, and Jess Trengove, Australian Olympic representative in the marathon this year.  If you take a deeper look into the painting, you can see a whole host of participants stretching back over forty years. 

 

You may even see yourself there!  I have mostly tried to keep the painting as real as possible, but I wonder if you will spot a few quirky elements, such as my dog and a cameraman!

'Adelaide City to Bay. 40th anniversary'  2001    

Oils and acrylic on canvas: 1200 x 1200mm

 

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'San Diego Spirit Festival'  2011

Printed Flier Red: 80 x 120 mm

I composed and original painting which were printed on two separate fliers, as

promotional material for the third San Diego Spirits Festival.

The back of the female figure suggests the ambiguity of her identity, with a relaxed and welcoming gesture to the man in the door. I blurred out the identity of the man as another form of ambiguity.

 

The influence is shaped from the prints and posters of ‘Belle Epoque’  which was a style rather than an era of Paris in the glamour and elegance of the roaring 1920'. The techniques of etching, dry-point and mezzotint were used for creating placards for the events, in particular I have been influenced by the artist Toulouse- Lautrec for his depiction of Parisian Cabaret.

 

The San Diego Spirits Festival has these elements of a Parisian gathering that celebrate a form of ancient Dionysian ritual in a contemporary setting. The Festival is staged each year and currently in its tenth year. I am very lucky to have been commissioned to make these works for the founder and director of the Festival, who is my sister Liz Edwards.

See link for Festival details.

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'San Diego Spirit Festival'  2011

Printed Flier Blue: 80 x 120 mm

I was commissioned to paint a commemorative painting as a retirement gift for Keith Littely, the Engineer of Boart Longyear. A company who drill for diamonds and other minerals worldwide.

 

Keith created the drill in the painting because it was an innovative work of engineering, as it could reach deep surfaces and be portable for further exploration.

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The company supplied me with photos of the drill and of Keith and I created a montage of the final composition.

 

Keith was very pleased and overwhelmed with the outcome, he loves the blue sky and its suggestion of being in the outback of Australia.

 

The company were pleased with the result, however they were sad to see it go with Keith to be part of his private collection in Perth, and they have inquired about a replica of the work in print form.

 

 

Please see link to company. 

'Keith Littely Engineer for Boart Longyear'    2010    

Oil on canvas; 1200 x 1000 mm

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'Sebastian and Joanne'  2010. Oils on canvas: 900 x 1000 mm

' Untitled'  2012. Watercolor:  420 x 297 mm

'Untitled'   2012. Oil on canvas: 830 x 820 mm

I have painted a number of commissions and these works are hung in private collections. In all my preliminary sketches, I discuss with the clients their thoughts on how they imagine themselves,  over a period of several meetings. I photograph and document key moments during my consultations and reflect these back into the works. I aim to create a light hearted and friendly viewing of the people I paint, capturing an essence of their personality.

'View on a Hill'   Hung in Oaks Pier Glenelg SA.  2005      

Oils & acrylics . Triptych on three canvas panels: 2500 x 300 mm overall dimensions

To inquire about commission work, please contact me via email or phone.

This was created as an abstract and semi-realistic view of Adelaide, the idea for this work came to me when I was dining at the Windy Point restaurant in Belair hills of Adelaide. The vista from our table and the relaxing and refreshing decor of the space inspired me to return the day after and take photographs of where I dined the night before.  I was interested in the objects that where inter-playing with the dappling light during the day and I composed this work from that sensation. This work hangs in the restaurant of the Oaks Hotel in Glenelg.  Please see link.

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