The cut out ass fitted fine (I)(2018) acrylic and pencil on paper, 38 x 28.5cm

Up by the church in Lisbon (II) (2017) acrylic and pencil on paper, 38 x 28.5cm

The space inside your mouth is entirely yours, except when it’s mine (I) (2017) acrylic and pencil on paper, 38 x 28.5cm

Watching, pissing, arousing for both (I) (2017) acrylic and pencil on paper, 38 x 28.5cm

Your kiss flares, a match struck in the night (2018) acrylic on tissue paper, 3m x 9m; Kissing Seat (2017) stained ash wood seat, commissioned by Grand Union

Your kiss flares, a match struck in the night (2018) acrylic on tissue paper, 3m x 9m; Kissing Seat (2017) stained ash wood seat, commissioned by Grand Union

Your kiss flares, a match struck in the night (2018) acrylic on tissue paper, 3m x 9m; Kissing Seat (2017) stained ash wood seat, commissioned by Grand Union

Selected works, acrylic and pencil on paper, 38 x 28.5 cm (unframed)

The sex shop ceiling in Cannes (2017) acrylic and pencil on paper, 38 x 28.5cm

Your hair, the sky (2017) acrylic and pencil on paper, 38 x 28.5cm

Watching. Pissing. Arousing. For both (II) acrylic and pencil on paper, 38 x 28.5cm

Falling out of us (2017) acrylic and pencil on paper, 38 x 28.5cm

The space inside your mouth is entirely yours, except when it’s mine (II) (2017) acrylic and pencil on paper, 38 x 28.5cm

Bad Wifi (2017) acrylic and pencil on paper, 38 x 28.5cm

Knees to the screen (2017) acrylic and pencil on paper, 38 x 28.5cm

INTERIOR REPORT

Solo exhibition at Workplace, Gateshead (2018).

Acrylic paint on cut tissue paper and watercolour paper, 50-minute looped soundtrack, stained ash wood seat. Featuring work commissioned by Grand Union, Birmingham (2017).

‘Interior Report presents a discussion around sex, loneliness, and relationships. Exploring inner and outer worlds, Green creates rhythms between image, sound, and object and probes at both intimate, internal realms and ornate architectural spaces around us.

Central to Interior Report is a series of paintings on paper. Acting as vignettes describing moments of intimacy and encounter, each work combines semi-figurative shapes with descriptions written in pencil, inviting the viewer into a moment of erotic intimacy. Pictorially the images take an unconventional, non-perspective view, either looking down, as if floating over a scene, or looking up, to surrounding architecture, rendering the experiences as diagrams or plan views. Together the scenes portray a range of encounters with varying levels of emotional connection, from online communication to face to face companionship.

The dichotomy between contact or lack of contact with another is repeated in Kissing Seat (2017), a stained Ash wooden bench inviting two people to sit next to each other but facing in opposite directions, so close that simply turning their heads together would invite a kiss.

Green’s voice is literally at the centre of the exhibition in the form of Gift of Tongues (2017), a 50-minute recorded soundtrack made in collaboration with artist Simon Bayliss, constantly looped throughout the gallery featuring music Green has made in collaboration with Rory Pilgrim (The Brilliant State) Dawn Bothwell (Charm Offensive) and Simon Bayliss (Splash Addict). Consisting of spoken lyrics and field recordings; the sound of heels on a train platform, singing in spaces with high acoustic properties, the drum of rain on glass windows mixed into a repetitive dance beat, Gift of Tongues (2017) is a wandering, unfurling soundscape of different moods and moments’.

 

Photos: Workplace Gallery