JACK GREENE
2000's: polychrome sculpture and painting
Over the past 55 years I have moved from painting to painted sculpture and then back to painting. Beginning in the mid 90's I moved away from two dimensional painting toward making polychrome wall relief. Recently I moved back into painting, using a multi-brush, and at the same time continuing to do painted wall relief.
Fabrication of the wall relief pieces is labor intensive, involving many processes including modeling in clay, mold making and casting in acrylic non toxic polymer and painting.
In both painting and sculpture my focus has always been on the process of depicting spatial relationships in layers or multi dimensions. The images that I use are a combination of the geometric, the real and the abstract, taken from both natural objects in the world around and from synthetic objects proliferated by 20th century technology and industrial waste. As I start a piece - whether a painting or a relief - it begins as mysterious, then gradually reveals itself while I am making it. The final visual effect, in both my paintings and wall reliefs, is somehow very real, yet at the same time appears to slide into abstraction. The finished piece continues to reveal itself over time as I look at it again and again.
Over the past 55 years I have moved from painting to painted sculpture and then back to painting. Beginning in the mid 90's I moved away from two dimensional painting toward making polychrome wall relief. Recently I moved back into painting, using a multibrush, and at the same time continuing to do painted wall relief.
Fabrication of the wall relief pieces is labor intensive, involving many processes including modeling in clay, mold making and casting in acrylic non toxic polymer and painting.
In both painting and sculpture my focus has always been on the process of depicting spatial relationships in layers or multi dimensions. The images that I use are a combination of the geometric, the real and the abstract, taken from both natural objects in the world around and from synthetic objects proliferated by 20th century technology and industrial waste. As I start a piece - whether a painting or a relief - it begins as mysterious, then gradually reveals itself while I am making it. The final visual effect, in both my paintings and wall reliefs, is somehow very real, yet at the same time appears to slide into abstraction. The finished piece continues to reveal itself over time as I look at it again and again.
2000's: polychrome sculpture and painting