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Artist Exhibitions:
Solo Exhibitions
Jason Green: New Work, The
Clay Studio, Philadelphia, PA,
2006
Jason Green: Walls, Salve
Regina University, Newport,
RI, 2004
Fragments and Facades,
Artworks! at Dover Street, New
Bedford, MA, 2002
End Presentation, Turner
Gallery, NYSCC at Alfred
University, Alfred, NY, 2001
Jason Green: Architectural
Terra Cotta, Hilles Library,
...
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Artist Galleries:
Harvey Meadows Gallery, Aspen,
CO
Cross Mackenzie Ceramic Arts,
Washington, DC...
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Artist Reviews:
Grants and Fellowships
Emerging Artist Grant,
American Craft Council, 2003
Individual Artist Grant,
Massachusetts Cultural
Council, 2001
Professional Development
Grant, Walnut Hill School,
Natick, MA, 2001
E. E. Ford Faculty Summer
Study Grant, Walnut Hill
School, Natick, MA, 2000, 2002
Dartley Fellowship in Visual
Arts, Walnut Hill School,
Natick, MA, ...
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Collections:
Coming Soon!
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Commissions:
Award Design and Fabrication,
Massachusetts Alliance of Art
Educators, MA, 2003...
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Artist Statement for Jason Green
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I am interested in the fluctuating relationships between physical space, the body, time and memory. My work refers to mechanical, technological and organic conduits while cultivating relationships between geologic and personal measurements of time. I question, investigate and reveal ideas dealing with decoration, decay, construction and reconstruction.
I celebrate and pinpoint the fluxing characteristics of immediacy while alluding to the past. I use traditional processes that are adapted from outmoded methods of building. The forms are created by hand-pressing clay into molds made from both plaster and wood. The repetitious aspects of process and production recall the ritual and habitual aspects of daily work. The adaptable systems I use invite structured improvisation into the process. The modular mold-making systems result in reconfigurable elements and share the intrinsic geometry that can be found in nature. The geometry of my arrangements is tempered by the fluid characteristics of glazed surfaces that evolve during multiple applications and firings.
Recently, I have been working on the floor creating fields that suggest the vastness of landscape and the results of weather and erosion. The work I place on the wall, often incorporating decorative patterns lifted from history, exists in a more intimate personal and architectural space. These pieces also reveal the similarity of structure found on the micro and macro scale. My work and process embraces the polarities of interior and exterior, fluid and static, fragment and whole. These polarities are amplified by forms and schematics that aim to recall the body, its natural functions and its links to our immediate and extended environment.
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