Jameson Green

About

His academic background in painting means his universe of references is broad and diverse. Still, there’s no need for a degree in art history in order to appreciate his paintings. It’s not about matching a source to a painting, though some of the artists Green cites in his works are easy to spot – those Van Gogh colours, the Picasso faces. Others can be more loose: a composition taken from one artist, a figure from another. There’s a hint of Lucian Freud, the influence of Leon Golub (an excellent draftsman, Green describes), the works of American Neo-Expressionist Robert Colescott and Viennese expressionist Oskar Kokoschka are clearly there in the colours. Green discusses Michelangelo and Rembrandt and Bill Traylor at once. It’s a collection of references that cuts through time and place, led by an interest in expression and emotion, and the way they combine in painting to resurface the world.  Like a vocabulary, like the way language shifts through use and socialising, the work of these painters that Green has come to admire over time, become part of his own vision.