The Interesting Boundary #2 (1998),
acrylic on birch panel
Looking at reproductions of George Green's paintings, it is easy to imagine him as the artistic equivalent of a pool shark who, having won the opening turn in a game, proceeds to systematically and with great precision remove every ball from the table.
The arena of Green's game is Twentieth Century Art, a place where abstractionism seemed for a few decades to have been triumphant over illusionism, the flat picture plane had indubitably frozen over Renaissance perspectival space, and geometry regularly slugged it out with painterly gesturalism.
With what is now called 'Abstract Illusionism,' Green freely mixes these stylistic hallmarks and shibboleths with art historic abandon, devising one trompe l'oeil trap after another, until one's notion of space can only be relative. Even with respect to precursors as diverse as William Michael Harnett, M.C.Escher, Frank Stella with his French curves, or wood grain aficionados such as Robert Helm and Tom Fawkes, Green's space is most appropriately 'virtual.'
His current modus is acrylic on birch panel, but the birch is seldom subordinated in Green's characteristic figure/ground enigmas.
© Ted Lindberg