As a visual storyteller, I believe in supporting narratives that are always true, but not always literal. I am dedicated to an art practice of discovery from outside the body, rather than of ‘self-expression’ from within. To that end, I approach projects more like a dowser who’s looking for underground water by paying attention to where the wires of curiosity cross. Building from a palette of familiar materials, experimental research, and the vast realm of our shared human experience, my work is about bringing the public to new worlds by utilizing innovative extensions of the world they already know.
As a mid-career artist, I believe in the marriage of art and design as a way of generating industrial strength works with heart and purpose. When commissioned to make new work, I consider the 2 year old dinosaur fanatic as much as the 92 year old retired policeman and try to engage this diverse public on a variety of levels – some conscious, others subliminal – all to give folks something they did not know that they wanted.
My projects over the past 25 years have been directly or indirectly rooted to the wildly diverse visual language of experimental puppetry, a form of theater that I want to keep pushing forward. This kinetic, jointed, handmade expression of myth-making has given me a universal vocabulary of simple elegance that I can carry across a variety of visual platforms including time-based installation and motion graphics.
Enthusiastic partners for this work so far include museum directors, theme park executives, experimental film-makers, adventurous academics, architects, gang members, refugees, rural educators, philanthropists, international businessmen, theater producers, traditional craftspeople, senior citizens, students of all ages, big city mayors, global leaders, reclusive visionaries, drag queens and other transgressive artists. As long as this diversity of audiences and partnerships continues, I will feel that I am on the right track.
- C. Green
photo: Sxip Shirey