Dimensions: 26.5 x 22.75″
Media: etching/reductive linocut
Scott Greene’s etching/reductive linocut work, Cellpine Intercept, shows a man-made cell tower, disguised to look like a tree, with three circular spaces forming a narrative dialogue. In the leftmost circle, Greene depicts rioters lobbing stones in the street; the circle on the right shows a predatory bird in flight, while the circle below an altered human face with pill on the tongue. While the relationship between the individual scenes is largely interpretive, Greene incorporates contemporary and historical elements in a single work, deconstructing conventional notions of linear time and chronological arrangement.
Scott Greene’s work is not associated with a definitive time period, but instead, works to integrate art historical and classical elements into a more contemporary approach. Greene’s work functions as a form of socio-political commentary and “uses the composition of a historical work as a matrix for making a painting that humorously examines the relationship between politics, nature and culture”. Greene draws on themes such as beauty, popular culture, and the natural environment in an additive artistic process that emphasizes the visual and temporal effects of building rather than executing a work in a single instance. After studying in California and receiving his BFA in painting from the San Francisco Art Institute, Greene moved to New Mexico, where he received his MFA in painting and has since lived for almost 30 years. Greene’s work derives much of its influence from this matrix; where he describes that, “the expansive space, vivid light and western frame of reference informs the narrative content in my work, and the alien beauty of high desert skies serve as backdrops for many compositions”. Greene also touches on the complex interplay between beauty and environmental exploitation within his oeuvre—an issue he sees as being both pertinent to and prevalent within New Mexico, today.