[10] The eventual theme of his work in Turkey gradually emerged as he observed bleak new collective housing springing up for an incongruous urbanisation of the rugged Anatolian plateau.
[8] In a review of Georgiou's exhibition Fault Lines at Side Gallery (Newcastle), Katie Lin found that his photographs evoked sadness rather than sympathy resulting from "the desolation and emptiness that features in so many of his shots."
But overall, she found the photographs were "thought-provoking and beautiful in content, composition and colour, a fantastic display of the everyday life experience of Turkish people".
[11] Adam Stoltman wrote for the New York Times that in Fault Lines: Through a series of haunting architectural and landscape scenes of Turkey's rush toward modernization – and the resulting tension between the secular and the modern – George Georgiou has visually put his finger on a kind of listless alienation which at times can seem to pervade globalized society.
[10]In late 2010 Georgiou had been working for five years on In the Shadow of the Bear, a project that looks at the aftermath of the peaceful "Rose" and "orange" revolutions that took place in Georgia and Ukraine against the backdrop of Russia's resurgence as a major international power and its continuous involvement in the two nations' affairs.